IBRADITION
A proud tradition gained over many years is a
valuable asset for an Orchestra or an Industrial
Company.
Yet in the eyes (and ears) of our respective
audiences, it is no substitute for present day
performance.
BOC Gases and the Guildford Philharmonic
Orchestra have traditions spanning 108 years
and 50 years respectively.
May the way we both perform - today and for
many years to come - continue to attract and
satisfy those audiences whom it is our privilege
to serve.
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GUILDFORD
PHILHARMONIC
Leader:
JOHN LUDLOW
EDWARD WARREN
Conductor
JEREMY HUW WILLIAMS
Baritone
GUILDFORD PHILHARMONIC
Edward Warren was born in Cambridge and his early
studies of the bassoon were with the celebrated
bassoonist, Archie Camden and later as a student at the
Royal College of Music, where he studied bassoon
with Kerry Camden and conducting with Vernon
Handley and Harvey Philips.
His twenty years in the orchestral profession were
CHOIR
spent with English National Opera and the LSO, then
The GUILDFORD PHILHARMONIC ORCHESTRA
as Principal Bassoonist of the RLPO. He made his
acknowledges with grateful thanks the generous
conducting debut with them in 1980 and this close
support of its SPONSORS and CORPORATE
association has continued, his most recent concerts
with them this month.
MEMBERS:
BOC GASES
ENGLISH SPEAKING UNION
HART BROWN SOLICITORS
LLOYDS BANK
MORISON STONEHAM
RECORD CORNER
UNIVERSITY OF SURREY MUSIC
DEPARTMENT
All concerts in the current season are funded by
GUILDFORD BOROUGH
with financial assistance from
South East Arts
Board the Guildford Philhar{'r}gnic Society, the South
East Music Trust and the E Musicians’ Union.
He left the RLPO in 1987 to further his conducting
activities and also joined the staff of the Royal
Northern College of Music. Since then he has
conducted a number of orchestras including the
Philharmonia, Ulster, Hallé, Bournemouth Symphony
and Sinfonietta, Manchester Camerata and Guildford
Philharmonic. He has also been a regular visitor to the
BBC Concert Orchestra, most recently for “Friday
Night is Music Night”. Highlights of this season
include performances with the Philharmonia,
Bournemouth Symphony, Bournemouth Sinfonietta,
his debut with the Royal Scottish National Orchestra
and continuing association with the Royal Liverpool
Philharmonic and Manchester Camerata.
In 1992 he made his conducting debut abroad, with the
Prague Symphony, at the invitation of Libor Pesek.
commissioned cycle of orchestral songs by Alun
Hoddinot,
and a recital, both
for the
Criccieth
Festival.
=% PROGRAMME =+
——
Overture: ‘Portsmouth Point’
William Walton (1902 - 1983)
‘Portsmouth
Point’,
described
as
a
comedy
overture, was the first of Sir William Walton’s
compositions
for
full
orchestra
to
bring
him
international fame. It was composed in 1925 and
given at the International Music Festival at Zurich in
the following year. The overture is dedicated to
Siegfried Sassoon.
The composer found his inspiration in a print by the
famous English caricaturist, Thomas Rowlandson
(1756-1827), which shows an animated dockyard
scene. In the middle distance is a group of ships,
some with their sails already set for departure. In the
foreground all is bustle, noise and confusion. A
naval officer prepares to go aboard with his wife,
followed by a porter staggering under the weight of
his portmanteau. Another exchanges fond farewells
with his sweetheart outside the tavern. A sailor
dances with his girl to a one-legged fiddler’s tune.
Barrels are rolled, dogs block the fairway, a bosomy
College,
dame belabours her man unmercifully. A line of
Cambridge and National Opera Studio. Awarded
under-garments flies bravely in the off-shore breeze.
third prize in the Lyon Opera House International
This scene of fighting, dancing and roistering is
Born:
Cardiff.
Studied:
St
John’s
Singing Competition, Bronze Medal in the Marian
Anderson International competition in Washington
DC, National Federation of Music Societies Young
Concert
Artist
Award.
Operatic
réles
include
Guglielmo in Cosi fan tutte (WNO); Schaunard in
La Boheme (Mid Wales Opera) the title role in
Craig’s Progress (Mecklenburgh Opera), title role
in Don Giovanni, Don Alfonso in Cosi fan tutte
(both Clonter Opera), Peachum in The Threepenny
Opera
(Aldeburgh
repertoire
Festival).
includes
Fauré
Extensive
Requiem,
vividly
conveyed
already
exhibits
in Walton’s
some
of the
Handel’s
which
prominent
features of his mature style - the irregular metrical
patterns, the wilfully displaced accents, the highlystrung nerviness and quick-wittedness, the bright,
sharp-edged and occasionally bizarre scoring. Here,
too, is the disrespectfully humorous outlook of a
live young man of the twenties.
Alan Gregory
concert
Messiah, Mozart’s Requiem and Brahms’ Requiem.
overture,
most
Charles Villiers Stanford (1852 - 1924)
Recitals at Aldeburgh, St David’s Hall, St George’s
Sir Charles Villiers Stanford is remembered much
Brandon Hill and Swansea Festival.
Recordings
more for his teaching, for he was Professor of
include Howells’ Requiem, Vaughan Williams’ Five
Composition at the Royal College of Music from
Mpystical Songs and Haydn’s Theresa Mass. TV
1883, than for his own works. He was elected
includes S4C’s series Canrif6 Gan. Engagements
Professor of Music at Cambridge in 1897. Through
in the the 1995/96 season include a television series
this post and more particularly through his post at
for S4C “Cerdd y Cymru” Mozart Requeim with the
the RCM, both of which he held until his death, he
Hallé
exercised
Orchestra,
St
Teresa
Mass
with
the
Bournemouth Sinfonietta, Mozart C Minor Mass at
more
influence
in
the
teaching
of
composition than any other musician in Britain at
the Barbican, recitals at the Wigmore Hall and
this time. Stanford’s tuition benefited such British
Llandudno October Festival, and the title role in
composers as Vaughan Williams, Holst, Coleridge-
Don
Taylor, Ireland, Bridge, Butterworth, Howells and
Giovanni,
and
Lindorf,
Coppelius
and
Dappertutto in The Tales of Hoffmann for (Pocket
Moeran to name a few of the more well-known. As
Opera Niirnberg). Future plans include a newly
conductor of the University Musical Society
at
Cambridge
he
gave
many
notable
first
But ev’ry night the “Old Superb” she sailed when
performances, especially of the works of Brahms,
others slept,
whom he greatly admired and later became his
Till we ran the French to earth with all the rest.
friend
and
who
was
to
influence
his
own
composition.
Songs of the Fleet was composed in 1910 and Songs
CHORUS
O‘twas Westward Ho! for Trinidad, and Eastward
Ho! for Spain;
of the Sea in 1906, both for the Leeds Triennial
And “Ship a-hoy!” a hundred times a day;
Festival, and have a perfection of workmanship and
Round the world if need be, and round the world
a rare beauty which is rewarding in performance.
The works are set to poems by Henry Newbold. The
explosion of violence and arresting music after the
first world war made unfashionable anything in a
again
With a lame duck, lame duck lagging, lagging,
lagging all the way.
romantic idiom. Moreover, the hostility of critics to
anything British in the musical world made his task
SONGS OF THE FLEET
and that of his pupils very difficult. In this climate it
Sailing at Dawn
is amazing that any of his works have survived and
The Song of Sou’Wester
a testament to his originality and strength that they
The Middle Watch
have. He was conductor of the London Bach Choir
The Little Admiral
(1885-1902) and the Leeds Triennial Festival (1901
Fare Well
- 1910) and such was his influence as a composer
and choral conductor that he was represented at
every British festival of his time.
Sailing at Dawn
One by one the pale stars die before the day now,
One by one the great ships are stirring from their
sleep,
Cables all are rumbling, anchors all a-weigh now,
Now the fleet’s a fleet again, gliding towards the
SONGS OF THE SEA
Drake’s Drum
The Old Superb
deep.
Now the fleet’s a fleet again, bound upon the old
ways,
Splendour of the past comes shining in the spray;
Admirals of old time, bring us on the bold way!
Drake’s Drum
Drake he’s in his hammock till the great Armadas
come
(Captain art thou sleeping there below?)
Slung a-tween the round shot listening for the
drum
And dreaming all the time of Plymouth Hoe.
Call him on the deep sea, call him up the Sound.
Call him when ye sail to meet the foe;
Souls of all the sea-dogs, lead the line today!
Far away behind us town and tower are dwindling,
Home becomes a fair dream faded long ago;
Infinitely glorious the height of heaven is kindling,
Infinitely desolate the shoreless seas below.
Once again with proud hearts we make the old
surrender,
Once again with high hearts serve the age to be,
Where the old trade’s plying and the old flag
Not for us the warm life of Earth, secure and
flying
tender,
They shall find him ware and waking
Ours the eternal wandering and warfare of the sea.
As they found him long ago.
The Song of the Sou’Wester
The Old Superb
The sun was lost in a leaden sky, / And the shore
Four year out from home she was and ne’er a
lay under our lee;
week in port,
When a great Sou’Wester hurricane high / Came
And nothing save the guns aboard her bright;
rollicking up the sea.
But Captain Keats he knew the game, and swore to
He played with the fleet as a boy with boats / Till
share the sport,
out for the Downs we ran,
For he never yet came in too late to fight.
And he laughed with the roar of a thousand throats
CHORUS
/ At the militant ways of man:
So Westward Ho! for Trinidad, and Eastward
Oh! I am the enemy most of might,
Holfor Spain;
The other be who you please!
And “Ship ahoy!” a hundred times a day;
Gunner and guns may all be right,
Round the world if need be, and round the world
Flags a-flying and armour tight,
again
But I am the fellow you’ve first to fight -
With a lame duck lagging lagging all the way.
The giant that swings the seas!
A dozen of middies were down below / Chasing
them, / The mind that sees ahead so quick and
the X they love,
clear?
While the table curtseyed long and slow / And the
He’s there, Sir, walking all alone there - / The
lamps were giddy above.
little man whose voice you never hear.
The lesson was all of a ship and a shot / And some
There are queer things only come to sailormen; /
They’re true, but they’re never understood;
of it may have been true
But the word they heard and never forgot / Was
the word of the wind that blew:
Oh! I am the enemy most of might, etc
The middy with luck is a Captain soon, / With
luck he may hear one day
His own big guns a-humming the tune /“Twas in
Trafalgar’s Bay.”
But wherever he goes, with friends or foes, / And
whatever may there befall.
He’ll hear for ever a voice he knows / For ever
defying them all:
Oh! I am the enemy most of might, etc
The Middle Watch
:
In a blue dusk the ship astern / Uplifts her golden
spars,
With golden lights that seem to burn / Among the
silver stars.
Like fleets along a cloudy shore / The
constellations creep,
Like planets on the ocean floor/ Our silent course
we keep.
And over the endless plain,
Out of the night forlom
Rises a faint refrain,
A song of the day to be born Watch! Oh watch, till ye find again
Life and the land of morn!
From a dim West to a dark East / Our lines
unwavering head,
As it their motion long had ceased / And Time
itself were dead,
Vainly we watch the deep below, / Vainly the void
above;
And I know one thing about the Admiral, / That I
can’t tall rightly as I should.
I’ve been with him when hope sank under us / He
hardly seems a mortal like the rest,
I could swear that he had stars upon his uniform, /
And one sleeve pinned across his breast.
Some day we’re bound to sight the enemy, / He’s
coming, though he hasn’t yet a name.
Keel to keel and gun to gun he’ll challenge us / To
meet him at the Great Armada game.
None knows what may Be the end of it, / But
we’ll all give our bodies and our souls
To see the little Admiral a-playing him / A rubber
of the old Long Bowls
Fare Well
Mother, with unbowed head/Hear thou across the
sea
The farewell of the dead, / The dead who died for
thee.
Greet them again with tender words and grave,
For, saving thee, themselves they could not save.
To keep the house unharmed / Their fathers built
so fair,
Deeming endurance armed / Better than brute
despair,
They found the secret of the word that saith
‘Service is sweet, for all true life is death.’
So greet thou well the dead across the homeless
sea,
And be thou comforted because they died for thee.
Far off they served, but now their deed is done
For ever more their life and thine are one.
Sir Henry Newbolt
They died a thousand years ago - / Life and the
land we love.
And over the endless plain, etc
The Little Admiral
Stand by to reckon up your battleships / Ten,
twenty, thirty, there they go.
Brag about you cruisers like Leviathans - / A
thousand man apiece down below.
But here’s just one little Admiral, / We’re all of us
his brothers and his sons
And he’s worth, O he’s worth at the very least /
Double all your tons and all your guns.
See them on the forebridge signalling - / A score
of men a-hauling hand to hand,
And the whole fleet flying like the wild geese /
Moved by some mysterious command.
Where’s the mighty will that shows the way to
SO INTERVALR,,
Symphony No.4 in E minor
a passacaglia, a form which in itself demands
variations and a fresh use of material. It is his
technical imaginativeness and superb control of
Brahms 1833 - 1897
Allegro non troppo
mood
Andante moderato
Practically all great composers avoid E minor, even
though it is an excellent key for strings, yet when
they do mount a symphonic structure upon this key
result
is
usually
acclaimed;
makes
seem
one
this
great
whole,
accumulative
rather
than
thirty
variations laid end to end. The passacaglia is based
Passacaglia (Allegro energico e passionate)
the
which
movement
Allegro giocoso
for instance,
Mabhler’s Seventh, Tchaikovsky’s Fifth, Dvorak’s
“From the New World”, Sibelius’s First and
Vaughan Williams’s Sixth. Although most people
agree that Brahms’s Fourth Symphony is one of his
greatest works, there is a wide difference of opinion
about the essential mood of the piece. Many find it
predominantly mournful, others interpret the same
on a theme borrowed from Bach, which comes
from Cantata No.50 “Nach dir Herr, verlanget
mich”.
To break up these variations is to destroy the unity
of the movement, which is what Brahms has been
careful not to do. Suffice it to say that the first eight
bars that the audience hears are repeated in one
form or another thirty times, with no bridge
passages.
It is
gigantic
movement,
interesting to note
Brahms
that, for this
introduces
trombones.
three
darkly strong music as not mournful, but defiant or
heroic.
Perhaps
something
this
which
difference
proceeds
from
of opinion
the
first
is
two
movements only. Certainly, the scherzo is a really
gay, if stunning, sound and the fourth movement a
GUILDFORD PHILHARMONIC CHOIR
Vernon Handley (President)
Jeremy Backhouse (Chorus Director)
most passionate set of variations.
Jeremy Filsell (Accompanist)
Brahms completed the work in 1885, and the first
performance in October of that year was
enthusiastically received. The first movement
The Guildford Philharmonic Choir was formed by
opens immediately with the statement of the
principal subject on the violins. Next, an important
theme introduced by the oboes, bassoons, clarinets
and horns. The second subject group opens with a
grand melody on horns and ’cellos and this finds
fulfilment in a statement by the flutes. The
development commences with a restatement of the
opening theme, and these same sounds give us the
beginning of the recapitulation, so to the listener
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 and Patrick Hadley’s
The Trees so High with the Philharmonia
Orchestra, both recordings being conducted by
Vernon Handley.
The
these sections are clearly marked and he can lose
Choir is conducted by some of the most
eminent musicians, and as well as giving frequent
the joins. The
other
himself within each one and not have to try to spot
second movement continues the
same mood of the first movement, and although an
atmosphere of resigned peace is the predominant
one, the constant overlapping of themes as is in the
first movement gives an impression of a mind
searching. This search finds a most beautiful
melody
on
the
’cellos
and,
having
found
this
melody, Brahms cannot leave it. It is eventually
stated in an impassioned tone by the strings alone.
The third movement is a straightforward sonata and
is held by many to be the only true scherzo that
Brahms ever wrote. Perhaps the musical terms
convey better than English what this movement is
about: giocoso it is, with a grazioso tune for the
first violins, staccato moments for the full orchestra
and a trionfale ending. The fourth movement is one
of the most interesting in all symphonic movements
for a composer who had inherited so much
classicism as Brahms. The idea of a free form
movement like a set of variations would be shirking
his symphonic responsibilities. It is astonishing that
Brahms should attempt to sum up a symphony with
concerts in Guildford, the Choir occasionally visits
British cities. In 1988 the Guildford
Philharmonic Choir visited Paris, in 1990 joined
forces with the Freiburger BachChor in Freiburg
Munster
and
in
November
1993
gave
an
outstanding performance of Brittens War also with
the Freiburger BachChor under Requiem Neville
Seventy-five members of the Freiburger
Bachchor joined the Guildford Philharmonic Choir
Creed.
on the 2nd March for a momentous performance of
Stabat Mater by Dvorak in Guildford Cathedral.
The Choir makes its final appearance of the season
at the Cathedral on the 4th May with a performance
of Verdi’s Requiem.
Jeremy Backhouse was appointed Chorus Director
in January last year, succeeding Neville Creed who
held the post for seven years.
s
GUILDFORD PHILHARMONIC CHOIR
1995-6
SOPRANOS
ALTOS
TENORS
Jacqueline Alderton
Sally Bailey
Adrian Buxton
Kathleen Aldridge
Iris Ball
Bob Cowell
Olivia Ames-Lewis
Evelyn Beastall
Leslie Harfield
Noreen Ayton
Iris Bennett
Nick Lamb
Louise Barnfield
Jane Brooks
Peter Lemmon
Penny Baxter
Jean Brown
Andrew Reid
Elaine Chapman
Barbara Buck
Chris Robinson
Andrea Dombrowe
Juliet Butler
John Trigg
Rachel Edmondson
Amanda Clayton
Maggie van Koetsveld
Suzanne Forbes
Mary Clayton
Jeni Younq
Angela Hand
Valerie Edwards
Sheila Hendy
Celia Embleton
Susan Hinton
Mandy Freeman
Shelagh Jeffreys
Rebecca Greenwood
Peter Andrews
Nora Kennea
Ingrid Hardiman
Roger Barrett
Judith Lewy
Pamela Harman
Michael Bradbeer
Margaret Mackie
Lucy Hatcher
John Britten
Elizabeth McCracken
Carol Hobbs
Catherine McEvoy
Norman Carpenter
Sheila Hodson
Walter Chattaway
BASSES
Vanessa Mumford
Joy Hunter
Jacqueline Norman
Neil Clayton
Lyn Jackson
Rodney Cuff
Michael Dawe
Susan Norton
Helen Lavin
Robin Onslow
Kay McManus
Penny Overton
Elisabeth Martin
Alison Palmer
Christine Medlow
Margaret Parry
Mary Moon
Vivienne Parsons
Brenda Moore
Vicky Payne
Nikki Paiae
Jessica Pires
Anne Philps
Rosalind Plowright
Susan Pope
Erin Polster
Clare Ranger
Susan Ranft
Lesley Scordellis
Gillian Rix
Catherine Shacklady
Joan Robinson
Gillian Sharpe
Judith Rossetti
Judy A.Smith
Maureen Shortland
Prue Smith
Judy Smith
Rosemary Smith
Kathy Stickland
Hilary Trigg
Carol Terry
Miriam Walsh
Enid Weston
Janice Wicker
Christine Wilks
June Windle
Barbara Williams
Maralyn Wong
Simon Doran
Michael Dudley
Terence Ellis
Geoffrey Forster
Michael Golden
Nick Gough
Peter Herbert
Laurie James
Michael Jeffery
Stephen Jepson
Michael Longford
Anthony Macklow-Smith
Maxwell New
Barry Norman
John Parry
Nigel Pollock
David Ross
John Schlotel
Philip Stanford
Elisabeth Willis
Keith Torbet
Lucinda Wilson
Andrew Whitehouse
Frances Worpe
Ralph Whitehouse
GUILDFORD PHILHARMONIC
EN SHAO - Principal Conductor
First Violins:
Cellos:
David Clack
John Ludlow — Leader
Douglas Cummings
Maurice Brett
John Stilwell
Tony Catterick
Christina Macrae
Phillip Augar
Sheila Beckensall
Avril Maclennan
John Hursey
Trumpets:
John Kirby
Andrew Mitchell
Nicholas Boothroyd
Rachel Maisey
Ian Burdge
Linda McLaren
Peter Widgery
Basses:
Patricia Reid
John Pickles
Michael Lea
Trombones:
John Parsons
Maurice Neall
Ian White
Colin Staveley
Martin Myers
Malcolm Frammingham
Alex Suttie
Paul Moore
Peter Newman
Rosemary Van Der Werff
Flutes:
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Carl Beddow
Timothy Callaghan
Ruth Dawson
Peter Hembrough
Ruth Knell
Alan Merrick
Violas:
John Meek
Tuba:
Stephen Wick
Piccolo:
Victoria Walpole
Julia Brocklehurst
Timpani:
Richard Benafield
Percussion:
Juliet Lewis
Christopher Nall
Cor Anglais:
Charles Fullbrook
Christopher Hooker
Steven Lees
Clarinets:
Robert Kendall
Hale Hambleton
Colin Courtney
Bass clarinet:
Paul Allen
Bassoon:
John Graham
Maria Meeley
Justin Ward
Anna Meadows
Anne Rycroft
Contra bassoon:
Jean Burt
Timothy Mallett
Paul Appleyard
Martin Nicholss
Anna Noakes
Oboes:
Andrew Bernardi
Bass Trombone:
Alexa Turpin
Simon Hunt
Catherine Belton
David Giardino
Steven Rossell
Horns:
Harp:
Helen Tunstall
General Manager:
Kathleen Atkins
Music Administrator:
Peter Holt
Projects Consultant (SEMT):
Nick Bomford
Karen Demmel
Chris Newport
Secretary:
Bob Winquist
George Woodcock
Shirley Ewen
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: (01483) 444666
Sunday 21 April 1996 at 3.00pm
Civic Hall, Guildford
Haydn
Overture to ‘La Fedelta Premiata’
Symphony No.6. (The House of the Devil)
Boccherini
Mozart
Horn Concerto No.3.
Handel
Concerto Grosso Op 3 No.2.
Mozart
Concert Rondo
Symphony No.34.
Mozart
Horn
Sarah Willis
Conductor
Robert King
Tickets: £11.50., £10.50., £9.50.,
(concessions) Civic Hall Box Office 01483 444555
Saturday 4 May 1996 at 7.30.pm
Guildford Cathedral
Verdi
Requiem
Regina Nathan
Soprano
Kathleen McKellar Ferguson
John Daszak
7Tenor
Paul Whelan
Bass
Alfo
Guildford Philharmonic Choir
Conductor
Grant Llewellyn
Tickets: £11.50., £10.50., £9.50.,
(concessions) Civic Hall Box Office 01483 444555
Saturday 11 May 1996 at 7.30.pm
St John’s, Smith Square, London SW1
Vasari Singers
Guildford Philharmonic
Jeremy Backhouse
Conductor
Soprano
Marilyn Hill Smith
Soprano
Tansy
Katy
Tenor
Simon Berridge
Stephen Charlesworth
Tavener
Bass
Gorecki
Totus Tuus
Howells
Requiem
Hymns to the Mother of God
Mozart
Mass in C Minor
Tickets: £12; £9; £6 (Concessions £6) From 1 April - The Box Office -
St. John’s, Smith Square SW1P 3HA - Please enclose sae. Tel. 0171 222 1061
RECORD CORNER
Pound Lane, Godalming, Surrey GU7 1BX.
TOM & SUE BRIGGS (GPO Supporters for 25yrs)
invite Concertgoers to take advantage of:-
A SPECIAL OFFER
With this programme you need pay no more than
£12.99 each maximum for ANY number of standard full price CDs.
(£8.99 Mid price).
Also stocked:- 100s of Second Hand and New CDs for £7 and below.
Wide Selection of Classical Tapes.
We offer friendly advice on ALL kinds of music.
Easy Parking nearby or Mail Order on 01483 422006
9.15 — 5.15 Monday to Saturday
DEPARTMENT OF MUSIC
University of Surrey
Promoting Excellence in Education and Research
/
-
~—~
BURCHATTS
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farm b am
The Department promotes regular concerts,
AWARgEVgé\IGN&GB%FORED
celebrity recitals, masterclasses and workshops,
AT STOKE PARK, GUILDFORD,
all of which are open to the public.
SURREY
.
.
.
Major diary dates for the 1995-96 academic year:
THE IDEAL VENUE FOR:
FUNCTIONS
5 October 8 pin
CONFERENCES
The outstanding Russian pianist, Nikolai Demidenko,
RECEPTIONS
plays Brahms & Schumann
26 November 7.45 pin
University Symphony Orchestra
Mahler Symphony No 4 & de Falla Three Dances
University Symphony Orchestra & Choir
Car parking and access for the disabled
Orff Carmina Burana
Competitive hire prices
WedneSday Lunchtime Recitals
weekly student performances starting at 1.15 pm
.
S
For full details on Burchatts Farm Barn contact
Miss] Boothroyde
Guildford Borough Council, Millmead House, ’ Millmead,
al
SS10
(admission
free) .
Guildford, Surrey GU2 5BB. Telephone 01483 — 444701
Please call the Department for further details
or if you would like to be placed on our mailing list:
01483 259317
GUILDF O RD
B OR O UGH
Secielly
GROWERS SINCE 1908
Secretts of Milford are delighted to donate the floral
bouquets to this seasons soloists
Secretts Flower Shop for stunningly orchestrated flower arrangements
Weddings * Decoration of Homes, Churches and Marquees
Bouquets * Gift Baskets * Floral Tributes * Accessories
Secretts — on the Milford to Godalming Road just outside Milford
Telephone: 01483 427971
Secielty
Full of lovely Surprises
T. ANDREW&S €0, LTD.
Serving Surrey Music Lovers for over 130 years
e
PIANOS
Boolie
BUZZ AROUND IN COMFORT WITH
(01483) - 32 32 32
LICENCED CARS
Agents for leading makers
Pianos for sale, hire and concert use
MINIB USES
6-14 SEATERS
62 MEADROW’ GODALM'NG
Telephone: 01483 422459
NON SMOKING CARS
AVAILABLE ON REQUEST
MALE + FEMALE
DRIVERS
PERSONAL + BUSINESS ACCOUNTS WELCOME
The
Supp@mfing
act.
Lloyds Bank provides a range of
specialist banking services, designed to
give you all the behind-the-scenes support
you need, whatever your repertoire.
We are pleased to support your venture.
Don Raffin,
Senior Manager,
147 High Street,
Guildford,
Surrey GU1 3AG
Telephone (01483) 462000
THE THOROUGHBRED BANK.
Lloyds Bank Plc, 71 Lombard Street, London EC3P 3BS.
68 Woodbridge Road
Guildford
ks A
Tel: 01483 68267
¢
o
solicitors
HartBrown
Jenner House
2 Jenner Road
Guildford
Surrey
GU1 3PW
Tel: 01483 68267
West Bank
sl
Surrey
e pmudly supporting
GU1 3PW
Tel: 01483 68267
2 Bank Buildings
.
The Professional
High Street
Cranleigh
U6 mE
Tel: 01483 273088
Orchestra of
33 High Street
imes
Cobham
KT11 3ES
Tel: 01932 864433
7 & 8 Guildford Road
Woking
Surrey
GU22 7PX
Tel: 01483 729991
1 South Street
Godalming
Surrey
GU7 1DA
Tel: 01483 426866
the South East