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Guildford Philharmonic
Beethoven
Guildford Cathedral
Saturday 21 February 2004
To a sustainable future
Borax discovered one of nature’s most bountiful borate
deposits more than a century ago. Today, we supply
the world with refined minerals that sustain life and our
standard of living.
Borates feed the crops that nourish our society. They
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disease, and safety devices that protect us from
accidents.
Borates also protect our natural resources, helping to
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homes and businesses through energy efficient lighting
and insulation, protecting the wood we use to build our
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sustainable hydrogen energy fuel source for cars.
But our products are only part of our commitment to the
future. We also work to make our practices sustainable
- from how efficiently we mine borates, to how our
operations help sustain the standard of living in our
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In other words, it's more than a pleasure to support
Guildford Philharmonic - it's also part of our commitment
to a sustainable future.
Borax Europe Limited
o
BOR\/-!X ::::;‘?}‘
IA Guildford Business Park
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A member of the Rio Tinto Group
GUILDFORD PHILHARMONIC
....................... Te Deum
Beethoven.........cueee. Symphony No.? ‘Choral’
There will be no interval during this concert
There will be a short break between the two pieces
Rebecca Nash
Marie Elliott
Mark Wilde
James Gower
soprano
conftralto
tenor
bass
Guildford Philharmonic Choir
(chorus master : Jeremy Backhouse)
Guildford Philharmonic Orchestra
leader
David Towse
Edward Gardner
conductor
All concerts in the current season are funded by Guildford
Borough Council
The orchestra is grateful to the following for financial assistance:
South East Music Trust and Arts Council England
Major corporate sponsors in the 2003/2004 season:
BOC Gases, Borax Europe Lid, Stevens & Bolton Solicitors
Programme Notes
Franz Joseph HAYDN (1732-1809)
In 1761 Haydn entered the service of the Esterhdzy family, and he remained in
their full-time employment for more than thirty years. In the early years of this
service he had charge of an orchestra which probably comprised at least six
violins, three violas, three cellos and two double-basses, together with pairs
of oboes and horns, other instruments being added on an occasional basis,
as required. These conditions were not dissimilar to those he experienced in
his previous appointment to the Austrian nobleman Count Morzin, at whose
palace in Lukavec he was employed during the previous two years.
Haydn's relationship with the Esterh&zy establishment enabled him to develop
the range of his creative work, and he viewed his relative isolation at the court
in positive terms: ‘I was cut off, and | was therefore forced to become original.’
For although Haydn did not invent either the symphony or the string quartet,
it was he more than any other composer
who nurtured and developed these
genres from their infancy to the full glories of their mature classical style.
After the death in September 1790 of Prince Nicholas Esterhdzy, his successor
Anton retained Haydn on full pay, but reduced his duties as Kapellmeister to
the court to no more than a nominal level. At the age of fifty-eight, Haydn
was now free to challenge the world and so within three months he found
himself accompanying the violinist-impresario Johann Salomon across Europe,
en route for London. The exhilaration of the trip to London, which included
the experience of seeing the sea for the first time in his life, released a burst
of creativity from Haydn - after his return to Vienna in 1792, it became clear
that his music had entered a new phase. After a return visit to London in
1794-95, he resumed his life in Vienna and continued to compose, his output
including the great oratorios The Creation and The Seasons. In his final years
Haydn was restricted by ill health and composed less and less - he died in
Vienna in 1809, aged seventy-seven. .
Te Deum in C ‘Grosse Te Deum'’
Haydn composed two settings of the Te Deum, both in C major. The first is @
relatively early work dating from 1764, but the second, composed in 1800,
is more thoroughly representative of his genius. By that fime it was some five
years since he had completed his final symphony, and he had recently been
heavily involved in choral music, writing the Masses for the successive name
days of the Princess Esterndzy and also the great oratorio The Creation - he
was clearly at the height of his powers.
Haydn began the composition of the Te Deum heard tonight during the
autumn of 1799 and completed it in the spring of the following year. The
impetus to write the music sprang initially from a suggestion by Marie Therese,
the wife of the Emperor Franz |, who was a talented soprano and an admirer
of Haydn's music.
The choral writing is particularly assured and there is a notable absence
of luxuriant orchestral textures. Richard Wagner, one of many 19th century
musicians to admire this music, spoke of the 'sensitive coarseness' of the
orchestration, noticing that Haydn deliberately eschews warm sonorities in
order to achieve a more direct and pungent effect; there are also several
occasions where the bold positioning of rests makes a strong impression.
The opening gesture is no less striking. Haydn admitted that his source came
from plainchant, and the first line is boldly declaimed by the full orchestra
and then by the chorus singing in octave unison. The famous Haydn scholar
H.C. Robbins Landon claims that some eighty years later, Anton Bruckner
modelled his Te Deum on this opening phrase of Haydn's.
One of the advantages of writing in C major was that it allowed Haydn to use
trumpets and drums; the magnificence of the resulting ceremonial effects
may well owe something to the oratorios of Handel that Haydn had heard
a few years previously in London. In fact, the closing bars bear a remarkable
resemblance to music from Handel's Israel in Egypt, though they are of course
none the worse for that.
At that time . ..
The English chemist Humphry Davy produced laughing gas (nitrous oxide),
finding it ‘absolutely intoxicating’ when inhaled. He therefore suggested
its use as an anaesthetic in minor surgery. In August 1799 Nelson's British
force destroyed much of Napoleon's fleet in Abukir Bay, an engagement
that became known as the Battle of the Nile. On 14th December George
Washington died at Mount Vernon, aged 67.
Te Deum laudamus,
te Dominum confitemur.
Te aeternum Patrem omnis terra veneratur.
Tibi omnes Angeli,
tibi caeli, et universae Potestates,
tibi Cherubim et Seraphim
incessabili voce proclamant:
Sanctus, sanctus, sanctus Dominus Deus
Sabaoth.
Pleni sunt caeli et terra
majestatis gloriae tuae.
Te gloriosus Apostolorum chorus,
te Prophetarum laudabilis numerus,
We praise Thee, O God,
we acknowledge Thee to be the Lord.
Thee, the Father everlasting, all the earth
doth worship.
To Thee all the angels,
to Thee the heavens, and all the powers,
to Thee the cherubim and seraphim
cry out without ceasing:
Holy, holy, holy Lord God of hosts.
Full are the heavens and the earth
of the majesty of Thy glory.
Thee, the glorious choir of the apostles,
Thee, the admirable company of the
prophets,
te Martyrum candidatus laudat exercitus.
Thee, the white robed army of martyrs doth
praise.
Te per orbem terrarum sancta confitetur
Ecclesia,
Patrem immensae majestatis;
Thee, the holy Church throughout the world
doth confess:
The Father of incomprehensible majesty;
venerandum tuum verum et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Thine adorable, true, and only Son,
and the Holy Ghost the Paraclete.
Tu rex gloriae, Christe.
Tu Patris sempiternus es Filius.
Tu, ad liberandum suscepturus hominem,
Thou, o Christ, art the King of glory.
Thou art the everlasting Son of the Father.
Thou, having taken upon Thee to deliver
man,
non horruisti Virginis uterum.
Tu, devicto mortis aculeo,
aperuisti credentibus regna caelorum.
didst not disdain the Virgin's womb.
Thou, having overcome the sting of death,
hast opened to believers the kingdom of
heaven.
Tu ad dexteram Dei sedes,
in gloria Patris.
Judex crederis esse venturus.
Te ergo quaesumus, famulis tuis subveni,
Thou sittest at the right hand of God,
in the glory of the Father.
Thou, we believe, art the Judge to come.
We beseech Thee, therefore, to help Thy
servants,
quos pretioso sanguine redemisti.
whom Thou hast redeemed with Thy
Aeterna fac cum Sanctis tuis
Make them to be numbered with Thy saints
in gloria numerari.
Salvum fac populum tuum, Domine,
et benedic hereditati tuae.
Et rege eos et extolle illos usque in
aeternum.
Per singulos dies benedicimus te.
Et laudamus nomen tuum
in saeculum et in saeculum saeculi.
Dignare, Domine, die isto
sine peccato nos custodire.
Miserere nostri, Domine,
miserere nostri !
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.
In te, Domine, speravi:
non confundar in aeternum.
precious Blood.
in glory everlasting.
O Lord, save Thy people,
and bless Thine inheritance.
And govern them, and exalt them for ever.
Day by day we bless Thee.
And we praise Thy name for ever;
yeq, for ever and ever.
Vouchsafe, O Lord, this day,
to keep us without sin.
Have mercy on us, O Lord,
have mercy on us !
Let Thy mercy, O Lord, be upon us,
as we have trusted in Thee.
In Thee, O Lord, have | trusted:
let me not be confounded for ever.
Ludwig van BEETHOVEN (1770-1827)
Beethoven is as central to our music as Shakespeare is to our literature. He was a key
figure in the nineteenth century artistic consciousness, the very epitome of the ‘artist
as hero': and the notion of the tempestuous romantic genius wrestling with his stormy
creations in his world of silence remains highly potent.
When Beethoven arrived in Viennain the early 1790s, he soon made a strong impression
with the musical public, but as a pianist rather than as a composer. Contemporary
evidence suggests that his improvisations at the keyboard abounded in brilliant ideas
and featured sudden changes of mood, but despite his individuality Beethoven did
not seek to break with the tradition of the Viennese classical style, the tradition which
had drawn him to the city; rather, his intention was to modify the formal procedures
of the time in order to suit his own expressive needs.
This development can be traced clearly in Beethoven's celebrated series of nine
symphonies, which span the years from the turn of the nineteenth century to the 1820s,
and which have remained at the very heart of western repertoire to this day.
Symphony No. ? in D minor, Opus 125
-~PON
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile - Andante moderato - Adagio
Presto - Allegro ma non froppo - Allegro assai - Allegro assai vivace - Alla marcia
- Andante maestoso - Allegro energico, sempre ben marcato - Allegro ma non
tanto - Poco adagio - Prestissimo
In his celebrated fifth symphony Beethoven had extended the range and scale of the
symphony by use of the imagery of tfriumph over fate; in the ninth, his final symphonic
composition, he moved on to a conception even more profound: the brotherhood
of all mankind. In no work of art is the philosophical spirit which developed out of the
French Revolution more clearly expressed.
The popular title Choral Symphony is misleading. Beethoven's own description of
the work was Symphony with Final Chorus on Schiller's Ode to Joy, and the choral
forces which provide the culmination and resolution of the work take part only in the
second half of the finale - until that point the music is purely instrumental. Yet despite
its revolutionary features, which must have made a powerful impression in 1824 when
the work was new, the ninth symphony still owes much to the classical tradition,
especially inits general structure and pacing. The expressive and technical demands
extend the scale of the classical symphony, but the instruments are never allowed
the indulgence of virtuosity, and solo passages quickly merge again into ensemble.
Thus the orchestral writing directs the listener's attention towards the strength of the
musical argument rather than to superficial effects.
The opening of the first movement is an immediate revelation of Beethoven's powers. It
is as though the preoccupation is with the act of creation itself, since the music seems
to grow from nothing, taking the form of a huge crescendo. Some commentators
have gone so far as to suggest that this first subject has had the deepest and widest
influence of any single theme upon later musical developments - those who know the
symphonies of Bruckner, for example, would hardly disagree. At its best symphonic
music is intensely dramatic, and here Beethoven achieves a drama of unparalleled
proportions. The music evolves on an extended scale, finding richness, diversity and
continuity, the moods alternating in the expression of doubt and consolation. In the
closing phase of the movement, the self-sufficiency of the main material is emphasised
by the way that it is extended and brought to its close with a statement which has
an unequivocal finality.
The second movement has a quite different personality, since it is a striking
intensification of the possibilities of the scherzo and its predecessor, the minuet. This
symphonic scherzo is an extraordinary example of the possibilities of scale, energy and
economy. Thus the trio section, to which Beethoven gave a very leisurely metronome
marking, is played once only, rather than twice, as had become his usual preference.
Here the sheer scale of the movement allows only a passing reference to a second
statement, immediately prior to the emphatic conclusion.
The Adagio is a theme and variations, with the addition of two interludes. The lyrical
nature of this music could hardly be further removed from the dynamism of the scherzo,
and the second theme has a profound beauty, which Sir George Grove suggested
was ‘guaranteed to bring tears to the eyes of strong men with whiskers'. However
the music still engages a full range of development, and towards the close there are
some martial outbursts which confirm that there is more than a single dimension. The
effect of this storm, however, is to make the closing bars seem even more serene.
Beethoven had known and loved Schiller's Ode to Joy (written in 1785) for more than
thirty years, and he had always intended to set it to music. But the idea of a choral
ending to the symphony had not been present from the first, rather it emerged during
the evolution of the work. Schiller's words, with their focus on the emotion of joy, made
an ideal solution to the symphonic problem Beethoven sought to resolve in his finale;
his decision was to precede the vocal entry with a substantial prelude consisting of
purely instrumental music. A powerful recitative introduction contrasts with quotations
from the previous movements, out of which emerges the famous ‘joy’ theme, whose
character has elements of hymn, folk tune and symphony. The sublime simplicity of
this theme was surely the result of long labours on the composer's part.
When the baritone enters, his words speak for Beethoven (who added them himseilf):
‘Oh friends, not these sounds! Let us rather strike up something more pleasing and more
joyfull' The choral section begins with the ‘joy’ theme, which becomes the basis of
variations and developments setting Beethoven's rearranged selection from Schiller’s
Ode. The music achieves both diversity and unity, as the four soloists and chorus deliver
treatments of the theme which range through many moods and presentations, from
the awestruck to the delirious. It is no wonder, then, that the influence of the ninth
symphony has been so profound and so enduring.
At that time ...
Vienna remained a leading musical centre throughout Beethoven's lifetime. The city
numbered some quarter of a million inhabitants - more than Berlin but fewer than Paris
or London - and was one of the focal points of European artistic and polifical life.
In London the National Gallery opened and the Society for the Prevention of Cruelty
to Animals was founded. George Stephenson developed the first public railway, to
carry trains between Stockton and Darlington, using his engine Locomotion. Lord Byron
died in Greece at the age of thirty-six, and Eugéne Delacroix exhibited The Massacre
at Shios in Paris, where Rossini became the director of the Théatre-ltalien.
O Freunde, nicht diese Téne! sondern
laBt uns angenehmere anstimmen und
freudenvollere |
Freude, schéner Gétterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum.
Deine Zauber binden wieder,
Was die Mode streng geteilt;
Alle Menschen werden Brider,
Wo dein sanfter Fligel weilt.
Wem der groBe Wurf gelungen,
Eines Freundes Freund zu sein,
O friends, not these sounds ! But let us strike
up more pleasant and more joyful ones.
Joy, o wondrous divine spark,
Daughter of Elysium,
Drunk with fire we enter,
Heavenly one, your holy shrine.
Your magic powers join again
What fashion has divided severely;
All men will become brothers
Wherever your gentle wings spread.
The person with the good fortune
To be the friend of a friend,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein |
And he who has won a good woman,
Ja - wer auch nur eine Seele
Also he who calls just one soul
Sein nennt auf dem Erdenrund !
Und wer's nie gekonnt, der stehle
Weinend sich aus diesem Bund !
Freude trinken alle Wesen
An den BrUsten der Natur,
Alle Guten, alle Bsen
Folgen ihrer Rosenspur.
KUsse gab sie uns und Reben,
Einen Freund, geprift im Tod,
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.
Let them add their jubilation.
His own here on earth.
And he who never did this, let him steal away
Weeping from our midst.
All beings drink in joy
From Nature's breast,
All good people, all bad people
Follow her rosy path.
She gave us kisses and vines
And one friend, tested in death,
She gave the serpent base desire
And the cherub stands before God.
Froh, wie seine Sonnen fliegen
Gladly, as his suns fly
Durch des Himmels pré&cht'gen Plan,
Through the heavens’ splendid plan,
Laufet, Brider, eure Bahn,
Freudig wie ein Held zum Siegen.
Run, brothers, your own course,
Joyfully like a victorious hero.
Seid umschlungen, Millionen !
Embrace each other, you millions.
Diesen KuB der ganzen Welt|
BrUder- Uberm Sternenzelt
This kiss is for the whole world
Brothers - above the canopy of the stars
MuB ein lieber Vater wohnen.
A beloved Father must surely live.
Ihr stUrzt nieder, Millionen 2
Do you plunge down, you millions 2
Do you sense the Creator, o world 2
Ahnest du den Schépfer, Welt 2
Such ihn Uberm Sternenzelt,
Uber Sternen muB er wohnen.
programme notes © 2004 Terry Barfoot
Seek him above the canopy of the stars
For he lives above the stars.
Biographies
Born in Melbourne, Rebecca Nash studied Arts at
Monash University in Melbourne and singing with Dame
Joan Hommond. She was awarded a Senior Exhibitioner
scholarship to study for an Advanced Postgraduate
Diploma in Opera at the Royal College of Music, which
she completed in 1999. In 1996 she was selected to
participate in the inaugural Vocal Program at the
Australian National Academy of Music where she was
awarded the Dame Joan Sutherland Singing Award
(Australia’s major singing prize). Among her numerous
awards have been the Herald-Sun Aria, the Marianne
Mathy Scholarship at the Australian Singing Competition,
the Temple Square Concert Series Prize and the Royal
College of Music Prize. Rebecca performed her recital
photo : Lottie Davies
for the Temple Square Concert Series in Salt Lake City,
Utah in August 1997.
In Australia Rebecca performed extensively with regional opera companies and
symphony orchestras. She has performed the role of Lady Billows in Britten's Albert
Herring at the Royal College of Music and at the Perth Festival in Scotland and the
role of Donna Anna (Don Giovanni) with the European Opera Players in Ireland. Most
recently, she has prepared and covered Katya Kabanova and Donna Anna for
Scottish Opera, Arabella and Magda (La Rondine) for Opera North, Katya Kabanova
for Welsh National Opera and Desdemona (Otello) for the Glyndebourne Festival.
In 2000 she sang Cio Cio San in Madama Butterfly for Scottish Opera and made
her debut with Opera Australia as the Countess in Le nozze di Figaro at the Sydney
Opera House. In concert she has sung Strauss’ Vier letzte Lieder with the Norrkdping
Symphony Orchestra and Daniel Harding.
Last season she made her debut at the Royal Opera House, Covent Garden as
Barenain Jenufa under Bernard Haitink (also recorded) and in concert performances
of Daphne under Stefan Soltesz, her debut with the Scottish Chamber Orchestra in
Beethoven's Egmont under Frans Briggen, her debut at the BBC Proms with the London
Philharmonic Orchestra and Kurt Masur and a tour of Japan with the Orchestra of
the Eighteenth Century and Frans Briggen (Beethoven 9TM Symphony). In recital she
has appeared at the Klavier Festival Ruhr with Graham Johnson and the Bath Festival
with lain Burnside. Her engagements include a tour of Spain and the Netherlands with
Frans Br0ggen (Beethoven's Egmont), Elektra under Semyon Bychkov at the Royal
Opera House and under Donald Runnicles at the BBC Proms, her first Marschallin for
English National Opera and Verdi's Requiem at the Royal Albert Hall.
Marie Elliott was born in Devon. She studied at the
Guildhall School of Music and Drama and on the Opera
Course at the Royal Academy of Music where she was
awarded a DipRAM, their most prestigious accolade.
While at the Academy, she also received the Lucille
Graham award, the Isabel Jay Prize for Opera and the
Isabella Lucas prize for Contralto Singing.
Marie has performed many of the major oratorio works
for her voice type, notably the works of Verdi, Mozart,
Elgar and especially those of Handel and Bach. She
has worked with many choirs and conductors including
Lutz K&hler and Sir David Willcocks; most recently she
performed Handel's Messiah with The Sixteen in Lincoln
Cathedral, conducted by Harry Christophers,
Opera roles have included Mistress Quickly in Verdi's
Faistaff with Royal Academy Opera, Teodata in Handel's Flavio with the London Royall
School's Opera, Florence Pike in Britten's Albert Herring with Almaviva Opera and
Marcellinain Mozart's Marriage of Figaro with Eastern Opera. As well as this, Marie has
covered the role of Irene in Handel's Theodora for Glyndebourne Touring Opera.
Forthcoming engagements include Haydn's Stabat Mater with the St Alban’s Choral
Society; Marie will also be covering the role of Edwige in Handel's Rodelinda for
Glyndebourne Festival Opera in 2004.
Born in Scotland, Mark Wilde was a chorister at Dundee
Cathedral. He then went on to study at the University of
East Anglia and the Royal College of Music.
Recent operatic repertoire includes the title role
in Graham Vick's highly acclaimed Candide for
Birmingham Opera, Tamino (Magic Flute) for Scottish
Opera, Ferrando (Il Trovatore) for Welsh National
Opera, Gianetto (La Gazza Ladra) and Don Ottavio
(Don Giovanni) for Garsington Opera and the Mostly
Mozart Festival, and Male Chorus (Rape of Lucretia) in
Riga and St Petersburg. Mark has also performed with
Glyndebourne Festival Opera, Glyndebourne Touring
Opera, English National Opera and Netherlands Opera.
Future operatic roles include Count Almaviva (Barber of
Seville) for the newly-formed Savoy Opera Company
and The Mad Woman (Britten's Curlew River) for Birmingham Opera Company at
the 2004 BBC Proms.
Mark makes regular appearances on the concert platform both in the UK and abroad.
Previous engagements have included appearances with The Hallé Orchestra, London
Mozart Players, City of London Sinfonia, The Sixteen, The Hanover Band, the Aalborg
Symphony Orchestra and Lahti Symphony Orchestra. Future engagements include
Bach's St John Passion with The Academy of Ancient Music, and Elgar's Dream of
Gerontius in Tokyo.
Mark has recorded Handel's Ode to St Cecilia's Day (to be released in 2004) and
Dettingen Te Deum for Naxos Records, Sullivan's The Golden Legend and The Prodigal
Son for Hyperion Records, and ‘Ancient Melodies’, arecital CD of songs for tenor and
guitar on Docker Records. During 2004 he will record for Hyperion Records a CD of
the songs of Ronald Stevenson with Lisa Milne and Graham Johnson.
James Gower was bornin Newport, South Wales. He
read music and was a choral scholar at St John's
College, Cambridge before gaining a scholarship
to study singing with Mark Wildman and Jonathan
Papp at the Royal Academy of Music on the London
Royal Schools' Opera and Royal Academy Opera
courses. There he won several prizes and awards
and participated in masterclasses given by Graham
Johnson, Stuart Burrows, John Tomlinson, Sarah
Walker, Thomas Allen and Kiri te Kanawa. For BBC
Television he recorded a masterclass with Robert
Tear, which was broadcast in December 2000.
In 2001 he sang the role of the Commendatore in
the LRSO production of Don Giovanni produced
by John Copley and directed by Sir Colin Davis.
For Royal Academy Opera he has performed
L'Arbre (L'Enfant et les Sortileges) Pistola (Falstaff)
and Seneca (L'incoronazione di Poppea). James'
other opera roles have included Doctor Grenvil (La Traviata - Pimlico Opera), Il frate
(Don Carlos - Stowe Opera), Angelotti (Tosca - Opera Brava), Chubukov in the world
premiére performance of The Proposal by Richard Dubugnon band Basilio (Barber of
Seville - British Youth Opera). For the ENO Baylis Project he sang the Sunin Firestone, a
new opera written by John Browne and performed with 150 primary school children
from the Tower Hamlets area of London.
As a concert soloist James enjoys a wide repertoire ranging from Monteverdi to Part.
His favourite pieces include Bach's Christmas Oratorio, which he has performed with
the Oxford Philomusica in the Sheldonian Theatre, Oxford; Haydn's Creation which he
sang with Nottingham Bach Choir and Verdi's Requiem with Bedford and Emanuel
Schools. James is in demand as a recitalist and has also performed live on Radio 3's
In Tune programme.
James has recently covered Dr Grenvil (La Traviata) and La Voce di Nettuno
(Idomeneo) for Glyndebourne Touring Opera and performed Israel in Egypt in the
new Dortmund Konzerthaus. In April he will return to Glyndebourne to perform
Pinellino (Gianni Schicchi) and cover Erster Priester and Zweiter geharnischter Mann
in Die Zauberfiéte; he will perform these roles with Glyndebourne Touring Opera in
the autumn.
In the past two seasons, British-born Edward
Gardner, recently appointed as Music Director of
the Glyndebourne Touring Opera, has emerged as
one of the most talented of the new generation of
conductors.
Edward made his debuts earlier this season with
the London Philharmonic Orchestra, Royal Scottish
National Orchestra, Camerata Salzburg, Belgrade
Philharmonic and Melbourne Symphony Orchestra
in two programmes, and he looks forward to
engagements with the Liege Philharmonic and the
Omaha and Alabama Symphony Orchestras, as well
as a televised performance of Handel's Messiah in
Johannesburg.
Edward Gardner's first production as Music Director of Glyndebourne Touring Opera
will be in Autumn 2004 with Puccini La Boheme; future productions include Rossini
La Cenerentola in 2005 and Britten Turn of the Screw in Autumn 2006, and he will
make his debut in the main Glyndebourne season with performances of Beethoven
Fidelio in August 2006. In January 2005, Edward will make his debut at the Paris Opera
conducting Kurt Weill The Seven Deadly Sins. He is invited in addition for performances
of Prokofiev Love of Three Oranges and Verdi Simon Boccanegra, as well as a new
production of Donizetti L'Elisir d'amore in the 2005/06 season.
Later this year, Edward conducts his first new production of an opera on continental
Europe in his debut with Strasbourg Opera (I'Opera National du Rhin) for a new
production of Meyerbeer L'Africaine. Last season, his opera conducting included
performances of Tchaikovsky Eugene Onegin with the Glyndebourne Touring Opera
as well as Sentimenten, a new music-theatre piece for the Ruhr Triennale Festival.
Edward Gardner continues his work with the Hallé (where he has served as Assistant
Conductor for the past two seasons) with concerts in a diverse range of repertoire in the
orchestra's two main subscription series at the Bridgewater Hall and across the UK.
Edward studied at King's College Cambridge and the Royal Academy of Music. Since
graduating in 2000, his engagements have included the Deutsche Oper am Rhein
(Humperdinck Hansel and Gretel), English Touring Opera (Stravinsky Rake's Progress
and Verdi La Traviata), Guildford Philharmonic (Verdi Requiem and Tippett Child of
our Time), Bampton Classical Opera original-instrument ensemble (Mozart Lo Sposo
deluso), as well as assisting on major productions at Glyndebourne Festival Opera,
the Royal Opera House Covent Garden, English National Opera, Paris Opera and at
the Salzburg Festival.
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 Guildford Civic,
Guildford Cathedral, the Electric Theatre, Holy Trinity Church, the Yvonne Arnaud
Theatre and Abbot's Hospital. 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 emphaisis is to work with young soloists at the outset of their careers. En Shao was
appointed Principal Conductorin 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 Arts Council England,
South East Music Trust, and to its major corporate sponsors BOC Gases, Borax Europe
Ltd and Stevens & Bolton for financial assistance towards the costs of running the
orchestra during the 2003/2004 season.
First Violin
David Towse
Maurice Brett
Paul Buxton
Viola
Justin Ward
Stephen Wright
Christopher Wellington
Oboe
Victoria Walpole
Janice Knight
Timpani
Roger Blair
Chris Nall
Rebecca Jones
Angela Bonett
Clarinet
Donaild Weekes
Ellen Jackson
Peter Sparks
Avril Maclennan
John Meek
Peter
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Jean Burt
Peter Newman
Dominic Moore
Miriam Teppich
Malcolm Allison
David Rix
Bassoon
Percussion
Jackie Kendle
Nigel Shipway
Mark Pollard
G.eneral Manager
Cello
Shelly Organ
Nicola Goold
Miriam Lowbury
Katharine Wood
Rachel Simms
Music Secretary
Audrey Rousseau
Jonathan Ayling
Jonathan Kitchen
Horn
Kevin Elliott
Maryon Lordan
Second Violin
Penny Bradshaw
Jane Hanna
Music Development
Christine Norsworthy
Howard Bates
Jack McCormack
Stacey
Watton
Helen Rowlands
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Orchestra
Management
Nk Beavlod
Flute
Trombone
Fergus Davidson
Richard Wall
Martin Gill
Jenny Buxton
Andrew Bernardi
Sarah Voigt
Martin
Gwilym-Jones
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Viadimir Naumov
Emma Blanco
Melanie Hornsby
Catherine Woehrel
Erica Simpson
David Clack
Bass
Andrew Wood
Kate Hill
Judith Havard
Adam Wright
Roger Willey
Geoffrey Nash
Officer
chorus master : Jeremy Backhouse
Soprano
Alto
Jacqueline Alderton
Valerie Adam
David Baxter
Peter Andrews
Joanna Andrews
Marion Arbuckle
Bob Bromham
Stephen Arthur
Anna Arthur
Sally Bailey
Tony Cousins
Roger Barrett
Helen Beevers
Penny Baxter
Bob Cowell
Alan Batterbury
Mary Broughton
Evelyn Beastall
Leslie Harfield
John Britten
Miranda Champion
Iris Bennett
lan Landsborough
Norman Carpenter
Elaine Chapman
Nick Manning
Chris Robinson
John Trigg
Michael Dudley
Tenor
Bass
Josephine Field
Monika Boothby
Jane Brooks
Margaret Dentskevich
Abby Freeman
Carolyn Edis
Geoffrey Forster
Mandy Freeman
Valerie Edwards
James Garrow
Anna-Maria Gross
Celia Embleton
Vaidotas Gerikas
Angela Hand
Valerie Garrow
Michael Golden
Calli Hayes
Ingrid Hardiman
Nick Gough
Mo Kfouri
Barbara Hilder
Peter Herbert
Judith Lewy
Susan Hinton
Keith Hester
Krystyna Marsden
Carol Hobbs
Laurie James
Lois McCabe
Sheila Hodson
Michael Jeffery
Hilary Minor
Yvonne Hungerford
Neil Martin
Susan Norton
Valerie Leggatt
Maxwell New
Robin Onslow
Kay McManus
John Parry
Rachel Owen
Christine Medlow
Roger Penny
Alison Palmer
Rosalind Milton
Chris Peters
Nigel Pollock
Sara Dann
Philip Davies
Terence Ellis
Lesley Peek
Mary Moon
Margaret Perkins
Brenda Moore
David Ross
Kate Peters
Jean Munro
lan Savill
Rosalind Plowright
Penny Muray
Philip Stanford
Susannah Priede
Kate New
Michael Taylor
Alison Rawlinson
Jacqueline Norman
Kieron Walsh
Gillian Rix
Lesley Scordellis
Ann Sheppard
Catherine Shacklady
Judy Smith
Prue Smith
Maggie Smith
Rosey Storey
Kathy Stickland
Jane Sweaney
Carol Terry
Suleen Syn
Rachel Wheldon
Hilary Trigg
Christine Wilks
Elizabeth Wilde
Maralyn Wong
Beatrice Wood
Pamela Woodroffe
Elisabeth Yates
(all concerts start at 7.30 pm unless otherwise indicated)
Fauré Requiem
Saturday 6 March
Guildford Cathedral
Guildford Camerata
David Hill conductor
Barry Rose 70TM Birthday
Saturday 29 May
Guildford Cathedral
Guildford Camerata
Barry Rose conductor
Last Night of the Proms
Saturday 10 July 8.00 pm
Shalford Park
BOX OFFICE: 01483 444777