GUILDFORD PHILHARMONIC
Saturday 2| November 1998
—
Guildford Civic
7.30pm
The key of B
©
V)
]B) orax: a natural mineral of the element boron (B). Borax and
)
:
other borates touch all our lives - by making glass tougher,
fibreglass more consistent, detergents more effective, and helping
Crops to grow.
]B) orax Europe Limited: the European headquarters of this
)
-
global, high-technology company based on the Surrey Research
Park, orchestrating the world's foremost repertoire of borate
mining, refining, research and distribution.
]B) orax in Guildford: a centre of excellence where scores of
highly-qualified scientists explore the propertics of one of the
world's most versatile minerals, in one of the world's few
borate-dedicated R&D laboratorics.
]B) orax: a member of the Rio Tinto Group; and once again
)
proud to support the current season of the Guildford
Philharmonic.
BORA
“"
‘
170 Priestley Road
Guildford, GU2 5RQ
As one of his two charities, the Mayor,
Councillor Keith Childs is supporting
GREENLAWS RESOURCE CENTRE,
Cranley Road, Guildford.
This is a centre which caters for people who
have serious learning difficulties coupled
with other mental health problems.
The mayor is helping GREENLAWS to raise
funds to provide a therapeutic relaxation room.
This is specially designed to help clients to relax
in a non-threatening atmosphere.
The main item in tonight’s programme is a
particular favourite of the Mayor and if you
have enjoyed it he would be very pleased to
receive donations in the buckets as you leave.
Thank you for your help
Mg&@
MAYOR OF GUILDFORD
COUNCILLOR KEITH CHILDS
m
GUILDFORD
©O—
PHILHARMONIC
John Bradbury
G
conductor & soloist
Box Office: (01483) 444555
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GUILDFORD PHILHARMONIC
Constant Lambert
The Rio Grande
Saint-Saéns
Carnival of the Animals
Interval
Carmina Burana
Carl Orff
Guildford Philharmonic Orchestra
Guildford Philharmonic Choir
The choirs of George Abbot School, Guildford High School and The
Royal Grammar School
Nicole Tibbels
soprano
Matthew Beale
tenor
Steven Page
baritone
Jeremy Filsell
piano
Les Pearson
piano
David Towse
leader
Jeremy Backhouse
conductor
All concerts in the current season are funded by
g
The orchestra is grateful to the following for financial assistance:
South East Arts Board
South East Music Trust
The Friends of Guildford Philharmonic
The season’s bouquets are donated by Geeigthy
CONSTANT LAMBERT (1905-1951)
tion,
Constant Lambert was one of the most brilliant musicians of his genera
He
also.
music
his
to
l
centra
the wit that was central to his personality being
score
ballet
a
was the first British composer to be commissioned to write
for the
(Romeo and Juliet) for Sergei Diaghilev’s Ballets Russes, and music
dance remained a central focus of his tragically short life. His contribution
fields.
to British musical life was memorable, both creatively and in other
n
sixtee
for
For Lambert was the musical director of the Vic-Wells Ballet
years, and the author of ‘Music Ho!’, one of the most important and influential
volumes of music criticism published this century.
THE RIO GRANDE
for piano, mezzo soprano, chorus and orchestra
poem by Sacheverell Sitwell
Grande
Lambert left only three compositions involving piano solo: The Rio
Rio
The
.
(1931)
rto
(1927), the Piano Sonata (1928) and the Piano Conce
ding
exclu
Grande is scored for an unusual and distinctive ensemble, to trumpets
woodwind instruments entirely, while including cornets in addition
no
in the brass section. There is a formidable array of percussion, requiringsion
percus
vable
fewer than five players, and employing almost every concei
instrument. The vocal forces consist of a mezzo soprano soloist and fourpart mixed chorus.
at the
Dedicated to the pianist Angus Morrison, who played the solo part
ast conducted
first performance, the music was introduced in a BBC broadc
in spite of its
ar
popul
ned
by Lambert in 1928. Since that time it has remai
unusual demands, for its special combination of exhilarating rhythms and
warmly lyrical invention has proved both enduring and compelling.
Sacheverell Sitwell’s evocative poem is brilliantly transformed intoinga
haunt
satisfying musical structure. There is frequently an affecting and
noisy streets
lyricism, as for example at the chorus’s entry to the words “The
highly effective
are empty and hushed is the town’, which is preceded by some
writing for muted strings. Another example comes shortly before the end of
chorus, to the
the work, a setting featuring the mezzo soprano solo with semiachieves
music
the
nt
mome
words ‘Till the ships at anchor there’ . At this
ess’,
sweetn
and
what Lambert described as ‘that irresistible blend of blatancy ed so much
in
a quality which, in his celebrated book Music, Ho!, he admir
negro jazz.
—S
At that time . . .
In January 1927 the BBC began the first regular broadcasting service. The
first automatic traffic lights were introduced at the Prince Square crossroads
in Wolverhampton, and the first veteran car rally from London to Brighton
took place. The year ended with a real ‘White Christmas’.
© Terry Barfoot
CAMILLE SAINT-SAENS (1835-1921)
Saint-Saéns was a prolific composer throughout his long career, though his
finest music was written by the 1890s. The nature of his musical style tended
in the direction of elegance, wit and sophistication rather than towards either
modernism or emotional turbulence. Even so, a few compositions, such as
the celebrated Symphony no. 3 (Organ Symphony), form powerful statements:
it was this piece which led Gounod to dub Saint-Saéns ‘the French Beethoven’.
With his creative gifts of fluent and elegant invention, skilful craftsmanship
and well-balanced orchestration, Saint-Saéns was possessed of a rare talent.
Soon after he had become established in Parisian musical life, Berlioz said
of him: ‘He lacks nothing except inexperience.”
And Saint-Saéns himself
left an artistic credo which itself is most revealing: ‘For me, art is form.
Expression and passion seduce the amateur above all; for the artist it is
different. An artist who is not fully satisfied by elegant lines, harmonious
colours and beautiful harmonic progressions has no understanding of art.’
GRAND ZOOLOGICAL FANTASY:
THE CARNIVAL OF THE ANIMALS
1. Introduction and Royal March of the Lion
2. Hens and Cocks - Wild Asses - Tortoises - The Elephant - Kangaroos
3. Aquarium - Persons with long ears - Cuckoo in the heart of the wood
4. The Aviary
5. Pianists - Fossils
6. The Swan
7. Finale
Saint-Saéns composed the celebrated Symphony no. 3 (Organ Symphony) in
1886, the same year as The Carnival of the Animals. In many ways this less
exalted piece typifies the composer’s nature and - not least - his wit, a
commodity much to be valued in music as in life. It displays his skill in
manipulating his material, too, since it contains numerous quotations which
are treated with subtle parody and considerable musical insight. A slow
version of Offenbach’s can-can from Orpheus in the Underworld becomes
the basis for Tortoises, while the fairy music of Mendelssohn’s Midsummer
Night’s Dream, together with Berlioz’s Dance of the Sylphs (The Damnation
of Faust), duly transforms into The Elephant! There are also French folk
songs, Rossini arias, and a self-parody from the famous Danse Macabre.
And new animals, known as Pianists, are invented specially for the occasion.
Saint-Saéns allowed various different arrangements in order to facilitate
performances; in this version he employs an orchestra of strings, plus flute,
clarinet, celesta, xylophone and two pianos, which generally lead the way.
The fact that its title has become a household name should not deflect us
from the realisation that The Carnival of the Animals is music of consummate
craftsmanship and true artistry.
At that time . . .
During the mid-1880s the engineer Gustave Zede completed his plans for the
Gymnote, a submarine weighing thirty tons and travelling at an underwater
speed of five knots, while another French invention revealed that year was
the monotype, a typesetting machine which was the work of Tolbert Lanston.
A third example of the latest French technology was an imposing 225-ton
structure designed by Frédéric Bartholdi, made of hand-hammered copper
sheets on a steel frame, which was assembled in France and then dismantled
before being shipped to the United States. There it was reconstructed at the
entrance to New York harbour, and named the Statue of Liberty.
© Terry Barfoot
CARL ORFF (1895-1982)
Carl Orff’s career centred around two fields: opera and education. Having
worked in various opera houses, in 1924 he founded the Giinther School for
young musicians. While based at this establishment in Munich, he continued
his researches into the operas of Monteverdi, which resulted in the publication
of a new edition of that master’s stage works.
In 1937, following the performance of Carmina Burana, Orff disowned all
his previous compositions, though some were eventually revised and restored.
But since that time he composed solely for the stage, although not
conventionally. His style became strongly individual, showing a marked
preference for dry staccato sounds with much percussion, and a clear emphasis
on rhythmic pattern and variation. His reputation firmly rests on the celebrated
Carmina Burana and its equally fine but less celebrated companion piece,
Catulli Carmina.
Carmina Burana
Fortuna imperatrix mundi
Primo vere
Uf dem anger
In taberna
Cour d’amours
Blanziflor et Helena
Fortuna imperatrix mundi
Carl Orff explained the unusual background to the creation of his Carmina
Burana: ‘Fortune smiled on me when she put into my hands a Wiirzburg
second-hand books catalogue, in which I found a title that exercised on me
an attraction of frankly magnetic force. It read ‘Carmina Burana, Latin and
German songs and poems of a 13th century manuscript’. These were found
in a monastery in the Bavarian Alps, south of Munich. The secularisation of
these establishments in 1803 resulted in the unearthing of many long-lost
treasures.’
Orff duly obtained the book in April 1934. On the front page he found the
famous picture of ‘Fortune with her wheel’, beneath which was printed the
lines: ‘O fortuna, velut luna statu variabilis’ ( ‘O fortune, like the moon everchanging’). This gave him the inspiration to start his creative project.
What Orff had stumbled upon was a poetry of European stature, emanating
from England, France, Spain and Italy.
This had been preserved in a
monastery, but it is not self-centred and confessional.
Rather it is true to
suggest that in these poems human figures take shape through music. Orff
said, ‘A special feature of the music is its static construction. In its strophic
(verse) structure there is no development. A musical formulation, once found,
remains the same in all its repetitions, and the effect depends upon the
terseness of the statement.’
Although the primary conception had been to create a work for the stage, in
fact Carmina has become established into the choral repertory of the concert
hall. In this regard Orff’s subtitle for the work makes an impressive point:
‘Secular songs for solo singers and chorus, with instruments and magical
pictures.’
After the impressive opening, focusing on the ‘wheel of fortune’, the Prima
vere section brings the contrast on greater intimacy through smaller forces.
The chorus and solo baritone welcome the coming of spring. The following
section, On the Green, begins with a lively orchestral dance, before the chorus
praises the noble forest, ‘decked with flowers and leaves’. The children’s
chorus joins the ensemble, the verses reflecting the desire of the young girl
to attract young men to love her, the music creating an ideal balance of rhythm
and lyricism. Further dances and choruses continue this theme.
A new section, In Taberna, begins with the baritone’s lively drinking song,
before the tenor, with accompanying chorus, sings the song of the poor swan,
roasted in the flames. The baritone takes up the tale of the Abbot of Cucany,
and the chorus further develops the scene, with tales of love, gambling and
drinking.
Cours d’amours (The Courts of Love) introduces the solo soprano, and the
mood becomes tender. The baritone responds with a song of yearning, but
this turns to lust, strongly characterised with a rhythmic counter-subject. The
baritone and soprano join together: ‘If a boy and girl linger together, happy
is their union.” The chorus respond ( ‘Veni, veni, venias’) to a marvellously
rhythmic accompaniment featuring pianos and percussion, and the soprano
responds, singing of the pleasures of succumbing to love. Again the mood is
tender, ‘Molto amoroso’, and the section closes with the soloists and chorus
rejoicing in the season of love.
The penultimate section, based on the tale of Blanziflor and Helena, is an
ecstatic chorus in praise of Venus: ‘Ave formosissima’, while the final chorus
is a repeat of the memorable ‘O fortuna’, with which the work had begun.
Thus Orff achieves both finality and unity for the whole remarkable
conception, at the same time as confirming his own view of the music: ‘The
simpler and more significant the utterance, the more direct and striking the
effect.’
At that time . . ..
In 1935 the German Chancellor Adolf Hitler denounced the Versailles Treaty
clauses, which governed German disarmament, at the same time creating the
Luftwaffe in order to give Germany air superiority.
A League of Nations
plebiscite in the Saar region showed that the people overwhelmingly wished
to return to Germany; their wishes were duly honoured. Thus encouraged,
Hitler occupied the Rhineland in March 1936.
© Terry Barfoot
Jeremy Backhouse - conductor
Jeremy Backhouse was Head Chorister at Canterbury Cathedral and later
studied music at Liverpool University. He spent five years as Music Editor at the RNIB, transcribing print music to Braille, before moving to EMI
Classics to work as a Literary Editor. Since 1990 he has been a Consultant Editor for EMI and other companies and a freelance musician.
In
1981 he became the first Conductor of the Vasari Singers, the chamber
choir with whom he has made several successful recordings.
In January 1995 he was appointed Chorus Director of the Guildford Phil-
harmonic Choir.
Most recently he has conducted Elgar’s The Dream of
Gerontius, the first public programme to be promoted by the choir itself.
In March 1999 he will
conduct Bruckner’s Mass in E minor and Mahler’s Symphony No 2.
In April 1995 he conducted the BBC Singers for the first time in a programme of music by Lennox
Berkeley broadcast on Radio 3, and has since conducted them in broadcast programmes of Holst,
Rubbra, Massenet and Delibes. Subsequent work has included a programme of music by Phyllis Tate
and Arnold Bax.
In 1996 he established a close rapport directing the Kent Youth Choir and Kent Youth Chamber Choir
with whom he toured Italy that Summer. Most recently he has been working with the Brighton Festival
Chorus as an assistant conductor, and in September 1998 he became the Music Director of the Wooburn
Singers.
Nicole Tibbels - soprano
Nicole Tibbels was awarded a scholarship to the Guildhall School of Music and Drama, having first obained an honours degree in French at Sheffield University.
She came to international prominence when she made her debut at the
Royal Opera House Covent Garden as the Countess in Massenet’s Cherubin
conducted by John Eliot Gardiner.
She was immediately re-engaged to
sing the roles of L’ Amour and La Folie in Rameau’s Platee with the Mark
Morris Dance Group and conducted by Nicholas McGegan. Also for the
Royal Opera she sang the role of Fido in Britten’s Paul Bunyan conducted
by Richard Hickox.
Whilst a member of the Swingle Singers she met Luciano Berio, whose music was her introduction to
the contemporary repertoire.
Since then she has worked extensively with the composer, performing
Sinfonia throughout the world, and Laborintus, A Ronne and Folk Songs as far afield as St Petersburg,
New York and Tel Aviv. She has recorded Sinfonia for Decca with the Concertgebouw and Riccardo
Chailly. Ms Tibbels has given premieres of works by Berio, Bainbridge, Finnissey, Holt, Lloyd, Maxwell
Davies, Nyman and Osborne, recorded works by Wishart, Bryars, Smalley, Stockhausen and Cage, and
made many broadcasts for BBC radio and television, including a song recital for Radio 3.
She sang and danced Stravinsky songs with The Rambert Dance Company for several seasons, and
performed Nenia - The death of Orpheus (Orpheus Singing and Dreaming) with the Richard Alston
Dance Company and the London Sinfonietta, concluding the South Bank’s ‘Secret Theatre’ Birtwistle
retrospective.
Nicole Tibbels has made many recordings for television and radio plays, films, television series and
commercials. She provided the incidental music for the computer game The Darkening, the title music
for the feature films Wish You Were Here and The Fruit Machine, a Schubert song in Needful Things,
and the coloratura voice for Howard Blake’s animated film Granpa. She has made numerous commercial recordings for television and the cinema and, by popular demand she recorded a single of the
music for ‘St Ivel Gold’ which entered the pop music charts, and has been asked to record an album of
songs in the style of her recent successful ‘British Airways’ commercial.
Matthew Beale - renor
Matthew Beale is a Lay Clerk at St George’s Chapel, Windsor, having
spent three years as an academic clerk at New College, Oxford. He is
also a Post-graduate Senior Exhibitionist at the Royal College of Music,
where he is studying with Margaret Kingsley.
: His choral work has also included performing with The Sixteen, The
King’s Consort, The Academy of Ancient Music, Polyphony, and
~ Chapelle du Roi. In addititon to his choral singing he regularly gives
' recitals, and performs in opera and oratorio. His oratorio work ranges
. from Bach’s Passions to Arvo Part’s Johannespassion and includes
such classics as The Messiah, The Creation, and Elijah. In opera he
has performed a wide range of roles including Paulino in Cimarosa’s The Secret Marriage, Ferrando
in Mozart’s Cosi fan tutte, and the title role in the world premiere of Francis Grier’s St Francis of
Assisi. As a recitalist he has specialised in the English Song appearing in Japan, London and
Oxford, and was the soloist in the Warlock Society Centenary concert.
Steven Page - baritone
Steven had already started a career as a Trade Mark Attorney whilst
studying singing privately with Margaret Hyde when he was awarded a
Countess of Munster Scholarship to study at the National Opera Studio
in London.
Following these studies Steven embarked on two tours with English Touring Opera, singing Don Alfonso in Mozart’s Cosi fan tutte and Nick
Shadow in Stravinsky’s Rake’s Progress. Since then Steven has sung
regularly with the major companies of the UK.
For English National Opera Steven has sung the title role in Mozart’s
in Britten’s Rape of Lucretia, Albert in Massenet’s Werther, Paolo in
Tarquinius
Giovanni,
Don
Verdi’s Simone Boccanegra, Valentine in Gounod’s Faust, the Count in Mozart’s Marriage of
:
Figaro and most recently the role of Figaro.
For Scottish Opera he has appeared as Guglielmo in Mozart’s Cosifan tutte, Marcello in Puccini’s
La Boheme, Chorebe in Berlioz Les Troyens, Ford in Verdi’s Falstaff and the title role in Mozart’s
Don Giovanni and the Count in Mozart’s Marriage of Figaro. He has appeared with Opera
Factory as Don Giovanni at the Queen Elizabeth Hall.
In 1994 Steven made his debut at the Glyndebourne Festival in the newly completed opera house
as Nick Shadow in Stravinsky’s Rake Progress and has since returned for Birtwistle’s The Second
Mrs Kong, for Leporello in Don Giovanni (which was televised on Channel 4) and for Coyle in
Britten’s Owen Wingrave. He has regularly appeared on the Glyndebourne Tour.
Last season Steven sang his first Papageno in The Magic Flute in Dublin, and made his debut in
France in Carlisle Floyd’s Susanna.
He has recently completed a successful tour of Sondheim’s Sweeney Todd with Opera North and
is currently singing in Flight, a new opera by Jonathan Dove for the Glyndebourne Tour.
Steven has sung recently in Berlin and at London’s Guildhall, Barbican, Royal Festival Hall and
Royal Albert Hall, National Exhibition Centre, Sheffield Arena, Manchester NYNEX Arena and
with the Huddersfield Choral Society.
Guildford Philharmonic
The Guildford Philharmonic is at the heart of music-making in the south east, with a huge
repertoire extending from the 17th century to the present day. The main concert season runs
from October to July in a variety of venues including the Guildford Civic, Guildford Cathedral,
the Electric Theatre, Holy Trinity Church, the Yvonne Arnaud Theatre, and, for the first time
this season, Wanborough Barn. In addition, the orchestra is invited to give concerts throughout
London and the south of England in a number of venues which include Kenwood Park, Royal
Festival Hall, King’s College Cambridge, St George’s Chapel Windsor, and the cathedrals of
Winchester, Chichester, Canterbury and St Albans.
The Guildford Philharmonic’s scope ranges from concerts for children and with children, via
chamber concerts in more intimate venues, to large-scale choral and orchestral works. The
repertoire covers everything from jazz and light music to new music, and the emphasis is to
work with young soloists at the outset of their careers. En Shao was appointed Principal Conductor in 1995, following in the illustrious footsteps of Crossley Clitheroe, Vernon Handley, Sir
Charles Groves and Sir Alexander Gibson. The orchestra continues its work of attracting new
audiences for all types of classical music and of making concert-going an exciting experience.
Guildford Borough Council has funded and managed the Philharmonic as part of its arts provision for the Borough since the orchestra’s inception in 1945 (when it was the Guildford Municipal Orchestra). The Council is grateful to the South East Arts Board, South East Music Trust,
the Friends of the Philharmonic, and to its major corporate sponsors BOC Gases Europe, Borax
Europe Ltd, Hart Brown Solicitors and the Guildford Nuffield Hospital for financial assistance
towards the costs of running the orchestra during the 1998/99 season.
First violins:
Duncan Moulton
Bassoons:
Timpani:
David Towse
Joan Atherton
Paul Buxton
Avril Maclennan
Christine Clutton
Clare Deniz
Ben Hess
Nicholas Hunka
Tamsin Rowlinson
Roger Blair
Jane Gomm
Basses:
Rachel Hess
Keith Hartley
Peter Newman
Paul Moore
Horns:
Mark Glentworth
Anthony Short
Tim Wilford
Judith Kelly
Kate Saxby
Julian Walters
William Brewer
Richard Wainwright
David Clack
Clare Hutchings
Tony Lucas
Nigel Shipway
Flutes:
Second violins:
Contra bassoon
Percussion:
Christopher Nall
Simon Estell
Cameron Sinclair
Alan Brown
Kate Hill
Donald Weekes
Anna Pyne
Trumpets:
Jenny Buxton
Robert Manasse
Gareth Bimson
Carl Beddow
Catherine Belton
Oboes:
Giles Liddiard
David Ward
Thomas Pilz
Vicky Walpole
Robin Smith
Nick Levy
Neil Black
Sarah Voigt
Julian Saxl
Pianos:
Leslie Pearson
Jeremy Filsell
Celeste:
Leslie Pearson
General Manager:
Cornets:
Nicola Goold
Cor Anglais:
David Ward
Janice Knight
Robin Smith
John Meek
Clarinets:
Trombones:
Justin Ward
Christopher Wellington
Hale Hambleton
Victor Slaymark
Jeremy Gough
Geoffrey Nash
Secretary:
Shirley Ewen
Anne Rycroft
Stephen Pierce
Jean Burt
Pat Humphreys
Eb Clarinet:
Bass Trombone:
Martin Nicholls
Music Development
Officer(SEMT):
Violas:
Victor Slaymark
Cellos:
Music Administrator:
Peter Holt
Clare Lister
Tuba:
Peter Esswood
Bass Clarinet:
Laurien Kennedy
Stephen Pierce
Stephen Wick
Stage Assistant:
Ken Davidson
Guildford Philharmonic Choir
The Guildford Philharmonic Choir was founded in 1947 by the Borough of Guildford
to perform major works from the choral repertoire with the Guildford Philharmonic
Orchestra. The Choir grew to prominence under the batons of such eminent British
musicians as Sir Charles Groves, Vernon Handley and Sir David Willcocks. Sir
David remains in close contact with the Choir as its current President.
Notable achievements last season include an acclaimed performance of Handel’s
Israel in Egypt with the Freiburger Bachchor in Freiburg in May 1998 and a rousing
performance of Elgar’s Dream of Gerontius at Guildford Civic in March 1998.
Jeremy Backhouse was appointed to the post of Chorus Director in January 1995
and has continued the tradition of attracting an ever-wider audience to the joys of
choral music with recent memorable performances of Howells’ Hymnus Paradisi
and Britten’s St Nicolas.
The Choir has chosen a challenging and exciting concert programme for the 1998/
1999 season. On 13 February 1999 it will be performing Philip Moore’s De Profundis
and Poulenc’s Gloria in Guildford Cathedral in collaboration with the Orchestra and
Choir of the University of Surrey. On 13 March 1999, the Choir will perform two
works which surely rank among the greatest choral works of all time, Mahler’s Second
Symphony - Resurrection and Bruckner’s Mass in E Minor. The Choir plans to
finish the season with an evening of French choral and organ music in aid of the
Chase Children’s Hospice, including Durufle’s Requiem, to be held at Guildford
Cathedral on Saturday 29 May 1999. Its next concert is a Carol Concert at Guildford
Civic on 20 December 1998.
The Choir is always searching for new members to maintain its high standard and
auditions are held throughout the year. For further details about joining the Choir or
for any information about any of our future concerts, please contact Elizabeth-Claire
Bazin: (01483) 506038. Rehearsals are held on Monday evenings throughout term
time in central Guildford and prospective members are most welcome to attend
rehearsals on an informal basis before committing to an audition.
If you would like to find out more about how you can support the choir by becoming
a benefactor, please contact Susan Ranft (Tel: (01306) 888870)
Jeremy Filsell is the Guildford Philharmonic Choir’s accompanist. He studied as an
Organ Scholar at Keble College, Oxford and as a pianist at the Royal College of
Music in London. He has appeared as a solo pianist at many major UK concert
venues and festivals and works regularly with the BBC Singers, the European
Contemporary Music Ensemble, City of London Sinfonia, New London Orchestra
and Pimlico Opera. His concerto performances of Mozart, Beethoven, Shostakovich
and Ireland have been heard both here and in the USA.
As a prize-winning Concert Organist he has recorded recitals & concertos for BBC
Radio 3, performed throughout the UK and extensively in France, Germany, Russia
and regularly in the USA; and his extensive solo concert work often involves an
increasingly popular combination of piano and organ in the same recital.
Guildford Philharmonic Choir
1st Sopranos
Jundith Lewy
Catherine Shacklady
1st Basses
Olivia Ames-Lewis
Pat McCully
Gillian Sharpe
Peter Allen
Joanna Andrews
Jacqueline Norman
Hilary Trigg
John Paul Bland
Noreen Ayton
Penny Overton
Sally Bayton
Alison Palmer
2nd Altos
Philip Davies
Elizabeth-Claire Bazin
Vivienne Parsons
Sally Bailey
Michael Dawe
Mary Broughton
Rosalind Plowright
Iris Ball
Simon Doran
Viv Chamberlin-Kidd
Susan Ranft
Evelyn Beastall
Michael Dudley
Elaine Chapman
Gillian Rix
Iris Bennett
Terence Ellis
Rachel Edmondson
Vicki Steele
Mary Clayton
Geoffrey Forster
Melanie Hezzell
Kathy Stickland
Carol Hobbs
Michael Golden
Mo Kfouri
Christine Wilks
Sheila Hodson
Laurie James
Susan Norton
Lucinda Wilson
Brenda Moore
Tony Macklow-Smith
Jean Munro
Roger Penny
Neil Clayton
Robin Onslow
Margaret Parry
1st Altos
Sue O’Connell
David Ross
Jessica Pires
Marion Arbuckle
Anne Philps
Philip Stanford
Kate Rayner
Mary Anne Barber
Prue Smith
Keith Torbet
Judy Smith
Tamsin Bland
Janice Wicker
Claire Strudley
Amanda Clayton
Enid Weston
Margaret Dentskevich
Elisabeth Willis
Andrea Dombrowe
Frances Worpe
Valerie Edwards
1st Tenors
Celia Embleton
Bob Cowell
Michael Bradbeer
Mandy Freeman
Henry Jones
John Britten
Norman Carpenter
2nd Sopranos
June Windle
~ Maralyn Wong
2nd Basses
Peter Andrews
Richard Austen
Jacqueline Alderton
Ingrid Hardiman
Andrew Reid
Penny Baxter
Jo Harman
John Trigg
Debbie Dring
Helen Lavin
Roger Barrett
Rodney Cuff
Peter Herbert
Anglea Hand
Kay McManus
2nd Tenors
Susan Hinton
Christine Medlow
Bob Bromham
Michael Jeffery
Stephen Jepson
Nora Kennea
Kate Plackett
Leslie Harfield
Maxwell New
Jane Kenney
Lesley Scordellis
Chris Robinson
Barry Norman
John Parry
George Abbot School
Guildford High School
Royal Grammar School
Catherine Mowat
Julie Shaw
Peter White
(Choir Director)
(Choir Director)
(Choir Director)
Romy Adams
Francesca Baseby
Richard Bartlett
Amy Cannell
Rachel Burn
Jonathan De Quidt
Holly Chandler
Megan Carr
Ben Edwards
Nicola Clements
Clemmie Critchlow
Rebekah Donoghue
Rebecca Dale
Rupert Harris
Mark Kennedy
Rebecca Downie
Lucy Ferguson
Andrew MacGilp
Chloe Franks
Rachel Hughes
Alex Muir
Francesca Freeman
Louisa Knight
Jonathan Refaussé
Katie Harper
Amy Mottley
Henry Skeoch
Hannah McCleery
Elizabeth Moss
Sarah Parish
Jenny Sanders
Alex Spiers
Philip Welsh
Nyree Pratt
Nicola Scordellis
John Wright
Joanna Roberts
Katie Smith
Hannah Turner
Sophie Vernon
conductor
unn (SOplan)
lison Dugmd(alto)
Ovenden tenor)
ligel .Q_Iiffe, (bass)
Diamond Subscribers 1998/99 Season
Honorary Freemen Bill &
Doreen Bellerby MBE
Mrs Mary Bostock
Mr & Mrs Ken Davidson
Mr D A Fogwill
Mr & Mrs Peter Gautrey
Mrs K Hewkin
Gold Subscribers 1998/99 Season
Mr J C Allison
Mrs J Graham Wood
Ms M Allison
Mrs P E Harding
Miss H Austin
Dr R G Harlow
Mr & Mrs G E Bavin
Mrs Joan Highet
Councillor Jackie Biggs
Mrs O Humphrey
Mrs E Butler
Ms A M Johnston
Mrs E M Cobbett
Mr & Mrs J D Lang
Mr & Mrs Colvine
Mrs E Logan
Mrs V A Denny
Mrs M Maple
Miss K E M Dixon
Mrs J Parton
Mr P Docherty
Mr M Phillips
Mrs L Dowding
Mr P D Pile
Mr & Mrs Francis
Elizabeth Polejaeva
Mr & Mrs R H Franks
Helena Polejaeva
Mr & Mrs L Garland
Mr & Mrs J Price
Mrs E F Greene
Councillor Lynda Strudwick
Mr & Mrs J M Wood
:
Est. 1908
THE FLOWER SHOP
CHAPEL LANE, MILFORD, GODALMING, SURREY
01483 427971
Discover a Flower Shop with a difference. Beautiful country flowers, imaginatively arranged
for all family celebrations, with excellent customer service.
Secretts Flower Shop is proud to support Guildford Pbilbarmonic by supplying the
bouquets for this season’s soloisls.
AN INVITATION...
Discover Secretts Flower Shop for yourself. Simply bring this programme to the shop before
31st May 1999, and we will give you a £10 gift token when you spend £20 or more.
FINE FOODS
GARDENS
MUSICAL INSTRUMENT
RENTALS & SALES
i
FRESH FISH
EATING OUT
MAIL ORDER
:
>
Friends of Guildford
Philharmonic
The
Friends
of
Guildford
Philharmonic do many things
throughout the year to support the
Guildford Philharmonic’s work.
They have a commitment to
helping young musicians at the
outset of their careers, and over
the past few years have sponsored
a number of string players to play
with the orchestra for a season.
Yamaha Music School for
keyboards now open
If you would like to find out more
about the Friends, please contact
Rita Horton (01483) 570814 or
Jean Carpenter (01483) 714634.
of change
For more than a decade, BOC Gases has been proud to
support the Guildford Philharmonic Orchestra by
sponsoring the Civic Concert.
Both of our organisations have hard-won reputations for
excellence - yet we also recognise how important it is to
keep on striving for new, imaginative and sometimes bold
ways of serving our respective customers and audiences.
As we set about re-shaping our own organisation to meet
the challenges of the new Millennium, we wish Guildford
Philharmonic Orchestra every success tonight, and
throughout this, its 53" season.
Head Office:
BOC Gases, The Priestley Centre, 10 Priestley Road,
The Surrey Research Park, Guildford, Surrey GU2 5XY.
Tel: (01483) 579857. Fax: (01483) 50521 1.
Guildford Agent: |.T.Warsop Jnr & Co. Ltd, Delta Works, Midleton
Industrial Estate, Guildford, Surrey GU2 5XW,
Tel: (01483) 534222,
Godalming Agent: Hunter Tool Company, 6 Brighton Road,
Godalming, Surrey GU7 INT.
Tel:(01483) 423610.
4, BOC GASES
solicitors
Hart Brown are proud
to support the South East’s
professional orchestra
GUILDFORD
20 Bedford Road
GODALMING
I South Street
FARNHAM
7 & 8 Guildford Road
Sovereign House 17 South Street
COBHAM
33 High Street
01932 864433
CRANLEIGH
2 Bank Buildings 147 High Street
01483 273088
GUILDFORD
68 Woodbridge Road
01483 887766
WOKING