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Guildford Philharmonic Choir
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President Sir David Willcocks CBE MC
Mozart
The Marriage of Figaro (Overture)
Donizetti
Ave Maria
Verdi
Pater Noster
Puccini
Requiem
Mozart
Horn Concerto No. 4 in E flat, K 495
Rossini
Stabat Mater
Neil Shewan
Horn
Katy Tansey
Soprano
Janet Shell
Mezzo-soprano
Christopher Lemmings
Tenor
Richard Strivens
Bass-baritone
Brandenburg Sinfonia
Jeremy Backhouse
12th March 2005
Guildford Cathedral, 7.30 p.m.
Guildford Philharmonic Choir
Away from the opera house...
The composers featured in this evening's programme are, with one notable
exception, renowned largely for their operatic output and little else.
Rossini,
Donizetti, Verdi and Puccini were all outstanding masters of Italian opera, but all
ventured into other genres at least occasionally, and sometimes with equal
success here too.
Mozart is impossible to pigeonhole, being an outstanding
performer and composer of all forms of music. He wrote around 20 opera scores,
several as fine as any produced by his illustrious Italian successors mentioned
above, and mostly in the Italian tradition (Idomeneo, Don Giovanni, Le nozze di
Figaro, Die Zauberflote [formerly known as Il Flauto Magico] and Cosi fan tutte).
This evening's programme is an opportunity to introduce some of the little-known
and seldom-performed religious music from these Italian masters of opera.
Wolfgang Amadeus Mozart (1756 — 1791)
Mozart was born in Salzburg, at that time an autonomous city-state with a PrinceArchbishop who provided both temporal and spiritual leadership. Mozart's father,
Leopold, was a musician and composer in the Prince-Archbishop's court, and
provided Mozart's only formal teaching in music. Leopold, quickly recognizing his
son's prodigious gifts, supplemented his meagre income by touring with Mozart
and his sister, displaying their talents before the nobility of Europe. In all, Mozart
spent about a quarter of all his days on the road, travelling throughout Europe,
from London and Paris to Germany, Austria and Italy.
Following in his father's footsteps, Mozart's first position was with the musical
establishment
of the
Archbishop
of
Salzburg
—
beginning
with
an
unpaid
appointment as Konzertmeister in 1769, which became salaried in 1772. However,
the world traveller soon felt restricted under the musical limitations of provincial
Salzburg and throughout his late adolescence and early twenties, he sought posts
elsewhere.
In 1781 Mozart moved to Vienna, the imperial capital and a major cultural centre,
working as a freelance composer and musician. He quickly ingratiated himself with
the music connoisseurs among the nobility. He spent the next 9 years working as
a teacher, pianist, concert promoter, and composer of some of the most sublime
pieces in the history of Western music. Despite his genius, Mozart was never fully
appreciated during his own lifetime and was better known as a performer than a
composer. He died in relative poverty in 1791, at the tragically early age of 35.
Overture: Le Nozze di Figaro, K 492
Mozart's comic opera Le Nozze di Figaro was given its first performance in 1786,
in Vienna. The opera was based on the French playwright Beaumarchais's 1784
play La Folle Joumée, ou Le Mariage de Figaro, a sequel to his earlier play, Le
Barbier de Séville, familiar to opera audiences through Rossini's great opera
(Mozart's opera premiered in 1786; Rossini's premiered in 1816).
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Guildford Philharmonic Choir
Mozart's librettist, Lorenzo da Ponte, took this popular play, removed 'political’
content that would have offended the Viennese imperial censors (the French
Revolution was only a few years away), and faithfully translated the rest into Italian
— the customary opera language of the day. Much happens on a single folle
journée' — a crazy day, which reveals a complicated story of Figaro and his bride
Suzanna on their wedding day, and of their involvement with the Count Almaviva
and his wife the Countess, for whom they work. The plot is full of deceptions and
confusion; with Mozart's masterpiece of a score, the resultant opera is a witty yet
profound tale of love, betrayal and forgiveness, characterised by its comic vitality.
This
finds expression
in
Mozart's well-known
overture,
which
throughout is
bustling with joy and gaiety.
Gaetano Donizetti (1797 — 1848)
Donizetti was born in Bergamo, ltaly, in extreme poverty. His family had no
tradition of music but the opera composer Mayr, Maestro di Cappella at S. Maria
Maggiore in Bergamo, persuaded a local charitable institution to open a free music
school, primarily to train choirboys, but also to impart a well-grounded musical
education. Donizetti was in the first group to enrol in 1806 (the school is still
running and is now named after him). He then transferred to Bologna for further
counterpoint and orchestration studies.
Donizetti arrived in Paris, where Rossini had invited him, in October 1838. Upon
arriving, Donizetti had hoped to follow Rossini's example and retire at an early
age, but he became ill and clung to his career. In 1842 Donizetti went to Vienna
and was offered the position of Kapellmeister to the Austrian court. However, his
health continued to deteriorate; by 1844 he had lost the ability to concentrate
sufficiently to compose works of more than a limited compass. In 1845 he was
placed in a sanatorium, where he stayed for 17 months. He never composed
again and was brought back, paralysed, to Bergamo, where he died in 1848.
From the earliest days, Donizetti had been an amazingly fast composer, often writing
whole compositions in one day. Although he died aged only 51, he had composed
73 operas — serious, semi-serious, grands-opéras and opéras-comiques. Most popular
are Lucrezia Borgia (1833), Lucia di Lammermoor (1835) and Linda di Chamounix
(1842), all serious operas; La Fille du régiment (1840), a French opéra comique; and
L'Elisir d'amore (1832) and Don Pasquale (1843), outstanding examples of opéra buffa.
To all this must be added more than 250 songs and duets, numerous instrumental
chamber pieces, including 19 quartets, 28 cantatas, two oratorios and around 100 works of
a religious nature, including a Requiem in memory of Bellini (1835) and Ave Mana (1842).
Ave Maria, gratia plena
Hail Mary, full of grace
Dominus tecum, benedicta tu
The Lord is with you, blessed are you
In mulienbus et benedictus
Among women and blessed
Fructus ventrns tui Jesus.
The fruit of your womb, Jesus
Sancta Maria,
Holy Mary,
Mater Dei, ora pro nobis,
Mother of God, pray for us,
Nobis pecatonbus,
For us sinners,
Nunc et in ora mortis nostrae.
Now and in the hour of our death.
Giuseppe Verdi (1813 - 1901)
The son of an innkeeper and grocer, Verdi displayed undoubted musical talent
very early. After studying with the local organist of Roncole, he continued his
musical studies in nearby Busseto, where he came under the patronage of
Antonio Barezzi, a rich merchant and the president of the local philharmonic
society, who offered to pay for him to study at Milan Conservatory. But having
gone there, in 1832, Verdi was not admitted, mainly as his piano technique was
judged to be unsatisfactory. He studied privately in Milan for 2 years and in 1836
he returned to Busseto, where he was appointed Maestro di Musica.
After 3 years and keen to test his ability as an opera composer, he moved back to
Milan, where the impresario Merelli accepted his first opera, and commissioned
another. However, between 1838 and 1840, Verdi's wife (Barezzi's daughter) and
two children died. In this most painful period of his life, he considered giving up
composition, but was persuaded by Merelli to compose Nabucco (1841); its
triumphant success at La Scala in 1842 made him the most prominent of young
Italian composers.
Thereafter Verdi wrote series of operas, some more successful than others at their
premiéres, but each eagerly sought by impresarios, making his stature as one of
the greatest opera composers unchallengeable. He also wrote several songs and
choral music, producing occasional masterpieces into his old age, including Messa
da Requiem in memory of the revered Manzoni, which Verdi himself conducted in
the Church of San Marco in Milan in 1874. Otello (1887) and then Falstaff (1893),
were the two masterpieces which crowned his operatic achievements. Honoured
all over the world, Verdi died in 1901, at the dawn of the new century.
Pater noster
During 1880, while working on the libretto of Otello with Boito, Verdi received
official recognition of his talents from several quarters. Vienna made him an
honorary member of the Gesellschaft der Musikfreunde; while in Paris he was
nominated Grand Officer of the Foreign Legion; and on his return to ltaly, the King
conferred on him the title of Cavaliere of the Grand Cross. The same year also
saw the premieres of his Pater Noster and Ave Maria, at a benefit concert at La
Scala,
Milan.
Verdi's music for The Lord's
Prayer sets
Dante's free
Italian
translation of the traditional text, and as a result the music reflects more the
colourful aspects of Dante's words than the original text may have offered. This
Pater noster is not often performed. Its unaccompanied five-part textures are often
reminiscent of the Renaissance motet, though echoes of the opera house can be
heard in the abundant supplies of typically Verdian touches of colour, drama and
ardent sentiment.
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Guildford Philharmonic Choir
O our Father, who art in heaven,
O Padre nostro, che ne' cieli stai,
santificato sia sempre il tuo nome,
hallowed be thy name always,
e laude e grazia di cio
and praise and thanks be for everything
che ci fai.
that thou doest.
Avvenga il regno tuo, siccome pone
Thy kingdom come, as this prayer entreats:
questa orazion: tua volonta si faccia,
Thy will be done,
siccome in cielo, in terra in unione.
On earth, as itis in heaven.
Padre, da oggi a noi pane, e ti piaccia
Father, give us this day our daily bread,
che ne perdoni li peccati nostri;
and may it please thee to forgive us our sins:
né cosa noi facciam che ti dispiaccia.
and let us not do anything that displeases
thee.
And in order that we may forgive,
E che noi perdoniam,
tu ti dimostri esempio a noi
thou makest thyself an example to us
per la tua gran virtute;
through thy great goodness;
accio dal rio nemico
so that we can all escape
ognun si schiostri.
from the cruel enemy.
Divino Padre, pien d'ogni salute,
Heavenly Father, fount of all salvation,
ancor ci guarda dalla tentazione
keep us always from temptation,
dell'infernal nemico e sue ferute.
from the satanic enemy and his onslaughts.
Si che a te facciamo orazione,
As we pray to thee
che meritiam tua grazia,
that we may deserve thy grace,
e il regno vostro a posseder vegniam
and that we may devoutly enter
con divozione.
into thy kingdom.
Preghiamti, re di Gloria
We beg thee, King of Glory
e signor nostro,
and our Lord,
che tu ci guardi da dolore: e fitto
to preserve us from sorrows: and we have
la mente abbiamo in te,
our minds fixed on thee,
col volto prostro.
with head lowered.
Amen.
Amen.
Giacomo Puccini 1858 — 1924
Puccini was
the fifth
generation
of a family of professional
musicians
and
composers, living and working in and around Lucca, in Tuscany. All the previous
generations of his family were basically church composers and organists at
Lucca's Cathedral — San Martino.
When his father died, Puccini took over the position of choir master and organist at
San Martino at the age of 14. It was expected that he would continue the long
family tradition; however, one night in 1876 all that changed, when Puccini and a
friend walked all of 13 miles to the city of Pisa to see a production of Verdi's Aida.
This made such an impact on him that he decided to follow his instinct for operatic
composition. With a scholarship and financial support from an uncle, he entered
Guildford Philharmonic Choir
the Milan Conservatory in 1880. During his 3 years there, he studied under Bazzini
and Ponchielli, the composer of La Gioconda.
While still a student, Puccini entered a competition for a one-act opera announced
in 1882. He failed to win, but came to the attention of the great Milanese music
publisher Giulio Ricordi, beginning Puccini's life-long association with the house of
Ricordi. In Giulio Ricordi, Puccini found a fatherly friend and wise guide. With the
first performance of Manon Lescaut, produced at Turin in 1893, Puccini achieved
his greatest ever success, and he became known outside Italy. He continued to
write mainly operatic works; the wide range and diversity of which are defined by
La Bohéme at one end and Turandot, unfinished at his death, at the other.
Puccini was the last of the great Italian composers, and represents Verdi's only
true successor. His choral, orchestral and instrumental works date mainly from his
early years; however, the Requiem was composed for celebrations held in 1905 to
mark the fourth anniversary of Verdi's death. This short piece, for three-part
chorus, is inspired and represents the mature sentiments of the composer. It was
not published until 1976, so was only occasionally performed, and only in ltaly,
before that time.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Requiescant in pace. Amen
Grant them eternal rest, Lord,
And may perpetual light shine on them.
May they rest in peace. Amen.
Mozart: Horn Concerto No. 4 in E flat, K 495
Allegro moderato
Romanza (Andante)
Allegro vivace
Mozart's instrumental concertos were always composed either for personal use in
concert, as was the case with his piano and violin concertos, or at the behest of
renowned and excellent soloists. The set of four Concertos and the Rondo in E flat
were written for the Viennese horn player Ignatz Leutgeb (or Leitgeb) between
1781 and 1786. Leutgeb was an exceptional player, achieving fame as far afield
as Paris; he played the French horn in the Salzburger Hofkapelle until 1777, and
was well acquainted with Mozart at the time. In 1781, the composer and the
virtuoso met again in Vienna, where Leutgeb ran a lucrative cheese business
alongside his musical activities.
The two musicians apparently had a very friendly relationship, because the
concertos are filled with fun and mischief: the Fourth Concerto is written with
different coloured inks, said to be an attempt to rattle the performer, to suggest
different cheeses, or perhaps — as is more likely — to emphasise individual voices
and thematic lines, and also mark subtle differences in dynamics.
Due to its rather modest musical capacities, the horn of the time was not a first
choice for a solo instrument. As it did not yet have any valves, its tonal range was
restricted to natural harmonics. Not until halfway through the 18th century was it
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Guildford Philharmonic Choir
possible, by means of so-called 'stopping’ (ie by inserting a hand in the bell of the
instrument) to manipulate the pitch, which made it possible to play the notes in
between the harmonics, and thus diatonic scales in the lower reaches.
Considering the numerous high demands made by Mozart, it is clear that Leutgeb
must have virtually mastered this technique.
In the final 'hunt’ movement, even a modern player, with the advantage of the
latest valve technology, will be hard-pressed to keep up with the musical demands
invented 200 years ago by the master melodist who just wanted to have a bit of
fun with a good friend.
Like its predecessors, the Fourth Concerto is a virtuoso vehicle that allows the
soloist to show a variety of abilities. The first movement is in orthodox sonata form,
with the orchestra announcing the main themes, the first fanfare-like and the
second more lyrical, which are then taken up and extended by the soloist. The
development subjects part of the first theme to different harmonic treatment, and
there is a short cadenza at the end of the recapitulation. The second movement, a
beautiful romance, shows off the horn's expressive qualities and is followed by a
jaunty allegro, dominated throughout by the theme with which the horn opens the
movement and which reflects the horn's hunting ancestry. This is arguably the
most familiar horn tune in the whole repertoire, and it fairly romps along in 6/8.
~ INTERVAL ~
Gioacchino Rossini (1792 — 1868)
Rossini was born into a musical family in Pesaro, Italy. He learnt the horn and
singing, and as a boy, sang in at least one opera in Bologna, where the family
lived. He studied there and began his operatic career when, at 18, he wrote a oneact comedy for Venice. Further commissions followed, from Bologna, Ferrara,
Venice again and Milan; seven operas were written in 16 months, all but one of
them comic.
This level of activity continued in the ensuing years. His first operas to win
international acclaim come from 1813, written for different Venetian theatres: the
serious Tancredi and the farcically comic L'italiana in Algeri. In 1815 Rossini went
to Naples as musical and artistic director of the Teatro San Carlo, which led to a
concentration on serious opera. But he was allowed to compose for other theatres,
and two of his supreme comedies, I/ barbiere di Siviglia and La Cenerentola, were
written for Rome and date from this time.
In 1823 Rossini moved to Paris, where he took on the directorship of the ThéatreItalien, composing for that theatre and the Opéra. His last opera, and his 36th in
19 years, was Guillaume Tell, completed in 1829. It is hardly surprising, therefore,
that he wrote no more stage works during the remaining 40 years of his life. He left
Paris in 1837 to live in Italy, but his health was poor and he composed hardly at all
during this period (the Stabat Mater belongs mainly to his Paris years). Rossini
went back to Paris in 1855, and his health and humour returned, together with his
urge to compose. One product of his late period was the graceful and economical
Petite Messe Solennelle (1863). He died, universally honoured, in 1868.
Guildford Philharmonic Choir
7
The story behind the composition of the Stabat Mater is as involved as one of
Rossini’'s own libretti. In 1832 he was invited by Don Francisco Fernandez Varela,
Knight of the Grand Cross of the Order of Charles Il of Spain, to compose a
setting of the 13th-century text. After some initial reluctance, Rossini agreed, on
the
understanding that the work would
be for private use
only,
and
never
published. He originally planned 12 movements, but having written Nos. 1 and 5-9,
a
severe
attack
of
lumbago
(either
real
or
strategic)
prevented
him
from
continuing. The other sections were composed by Giovanni Tadolini from Bologna.
The collaboration was kept a closely-guarded secret, the work being passed off as
entirely Rossini’s; in this form it was played in Madrid in 1832. Don Varela died in
1837,
and
immediately
a
Parisian
music
publisher successfully
bid
for the
manuscript. Rossini was furious that the agreement had been broken, and no
doubt fearful that his secret would be revealed, with dire consequences for his
reputation. He successfully prevented the publication of the original version, and in
1841 removed Tadolini’s contributions and wrote four more sections of his own,
bringing the total number of movements to ten. In 1842 the work had its premiere
in
its
definitive
form,
and
was
an
enormous
success,
with
no
less
than
29 performances in its first year.
In view of his background of composing mainly comic operas, Rossini's religious
compositions (Petite Messe Solennelle, Stabat Mater) are sometimes criticised as
less serious. Notwithstanding the strong operatic tendencies, especially in the
latter, this was absolutely not Rossini's intention. To the contrary, as we can learn
from his note to the manuscript of the Petite Messe, he composed these works
from a real religious feeling: "Here it is then, this poor little Mass. Have | written
truly sacred music, or just damn bad music? | was born for opera buffa, as you
well know. Not much skill, but quite a bit of feeling — that's how I'd sum it up.
Blessed be thy name, and grant me a place in Paradise".
The extreme solemnity of the text, a devotional poem about the Virgin Mary’s
grief-stricken vigil at the foot of the Cross, could not be in greater contrast to the
prevailing
mood
of much
of the
music,
which
at
times
seems
completely
incongruous. As evidence of Rossini's serious purpose, however, the work ends
with a great double fugue.
. Introduction: Stabat mater dolorosa
=WDCONAE
. Air (tenor): Cujus animam gementem
. Duet (1st & 2nd sopranos): Quis est homo
. Air (bass): Pro peccatis suae gentis
. Recitative (bass) & chorus: Eia mater, fons amoris
Quartet: Sancta mater, istud agas
. Cavatina (2nd soprano): Fac ut portem
. Air (1st soprano) & chorus: Inflammatus et accensus
. Chorus: Quando corpus morietur
—
8
. Finale: In sempiterna saecula.
Guildford Philharmonic Choir
Stabat mater dolorosa
The mother stood sorrowing
Juxta crucem lacrimosa
by the cross, weeping
Dum pendebat Filius.
while her Son hung there.
Cujus animam gementem,
Whose soul, lamenting,
Contristatam et dolentem,
Pertransivit gladius.
sorrowing and grieving,
has been pierced by the sword.
O quam tristis et afflicta
O how sad and afflicted
Fuit illa benedicta
was that blessed
Mater Unigeniti.
Mother of her only-begotten Son.
Quae moerebat et dolebat,
Who wept and grieved
et tremebat cum videbat
Nati poenas inclyti.
the torment of her glorious child.
Quis est homo, qui non fleret,
What man would not weep
Matrem Christi si videret
if he saw the Mother of Christ
and trembled to behold
In tanto supplicio?
in such torment?
Quis non posset contnstari,
Who could not be sorrowful
Piam Matrem contemplan
to behold the pious mother
Dolentem cum Filio?
grieving with her Son?
Pro peccatis suae gentis
For the sins of His people
Vidit Jesum in tormentis
she saw Jesus in torment
Et flagellis subditum.
and subjected to the whip.
Vidit suum dulcem natum
She saw her sweet Son
Morientem desolatum
dying, forsaken,
Dum emisit spiritum.
as He gave up the spirit.
Eia, Mater, fons amoris
Ah Mother, fount of love,
Me sentire vim doloris
let me feel the force of grief,
Fac, ut tecum lugeam.
that | may grieve with you.
Fac, ut ardeat cor meum,
In amando Christum Deum
Make my heart burn
with the love of Christ, the God,
Ut sibi complaceam.
that | may be pleasing to Him.
Guildford Philharmonic Choir
Sancta Mater, istud agas,
Holy Mother, bring this to pass,
Crucifixi fige plagas,
transfix the wounds of Him
who is crucified firmly onto my heart.
Cordi meo valide.
Tui nati vulnerati,
Of your wounded Son,
Tam dignati pro me pati,
who deigns to suffer for my sake,
Poenas mecum divide.
let me share the pains.
Fac me vere tecum flere,
Make me truly weep with you,
Crucifixo condolere,
Donec ego vixero.
grieving with Him who is crucified
Juxta crucem tecum stare,
To stand by the cross with you,
Te libenter sociare
to be freely joined with you
so that | may live.
In plancto desidero.
in lamentation, | desire.
Virgo virginum praeclara,
Virgin of virgins, resplendent,
Mihi jam non sis amara,
do not now be harsh towards me,
Fac me tecum plangere.
let me weep with you.
Fac, ut portem Christi mortem,
Let me carry Christ's death,
Passionis fac consortem
the destiny of his passion,
Et plagas recolere.
and meditate upon his wounds.
Fac me plagis vulnerari,
Let me suffer the wounds
Cruce hac inebrian
of that cross, steeped
Ob amorem Filii.
in love of your Son.
Inflammatus et accensus
Inflamed and excited
Per te, Virgo, sim defensus
by you, O Virgin, let me be defended
In die iudicii.
on the day of judgement.
Fac me Cruce custodiri
Let me be shielded by the cross,
Morte Christi praemunin
protected by Christ's death,
Confoveri gratia.
cherished by grace.
Quando corpus morietur,
When my body dies,
Fac ut animae donetur
let my soul be given
Paradisi gloria.
the glory of paradise.
In sempiterna saecula.
Amen.
Through everlasting ages.
Amen.
The notes in this programme include material supplied through the Programme Note
Bank of Making Music, the National Federation of Music Societies, who are
acknowledged with thanks.
Some of the printed music for this evening’s concert has been hired from
SCC Performing Arts Library, Novello & Co Ltd Hire Library and Peters Edition Ltd
Hire Library.
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Guildford Philharmonic Choir
Neil Shewan
Neil Shewan began learning the Horn at the age of nine
at his local primary school. He originally wanted to learn
the Violin, but when given his chance to choose an
instrument from the school music cupboard, the only two
left were a bass drum and an old French Horn! In 1997,
Neil began studying at The Guildhall School of Music &
Drama with teachers
Hugh Seenan, Jeff Bryant and
Richard Bissill, finally graduating in 2001 with a BMus
(Hons) degree.
In his final year at college, Neil was asked to join the
Fine Arts Brass Quintet. For 2 years he toured with the
group giving recitals, radio broadcasts and master classes around the world. In
2001, while still in his final year, Neil won the prestigious international Paxman
Young Horn Player of the Year Competition, the first Briton to have done so.
Neil's solo debut in London was at St John's, Smith Square in 1995, at the age of
17, when he performed Mozart's Hom Concerto No. 4; he has since performed
many different concertos around the country. Neil recorded Julia Gomelskya’s
Bagatelle in 2001 for the Guildhall Young Composers Series.
Neil now has a busy freelance career, regularly performing with many of the
country's leading professional orchestras and chamber ensembles. These include
the London Symphony Orchestra, Philharmonia, London Philharmonic Orchestra,
Royal Philharmonic Orchestra, Hallé Orchestra, City of Birmingham Symphony
Orchestra and the BBC National Orchestra of Wales.
Katy Tansey
Katy
Tansey
read
music
at
Selwyn
College,
Cambridge and subsequently studied at the Guildhall
School of Music & Drama. Whilst there she won a
scholarship to study Russian song at the Britten-Pears
School with
Galina Vishnevskaya, with whom she
continued to study privately. She now studies with
Marie McLaughlin.
Katy’s operatic experience has included a European
tour covering the role of Marzelline (Leonore) for Sir
John Eliot Gardiner, Fiordiligi (Cosi fan tutte) at the
Snape Proms under Tadaaki Otaka, and British tours
performing Tatyana (Eugene Onegin) and Fiordiligi
(Cosi fan tutte) for Pimlico Opera. She also regularly
sings with the Monteverdi Choir and the choir of the English Concert under
Trevor Pinnock, with whom she sang Pilate’s Wife in Bach’'s St Matthew Passion
in a series of performances at major concert halls throughout Europe and at the
2002 BBC Proms.
Guildford Philharmonic Choir
11
She has also performed a wide range of oratorio and concert works; highlights
have included Handel's Solomon with the Northern Sinfonia in York Minster,
Britten’s War Requiem in St Albans Abbey, Mahler's Symphony No. 2 in Guildford
Cathedral and Verdi's Requiem in Westminster Abbey. She made her Purcell
Room debut singing Handel and Vivaldi Cantatas and has given a song recital in
the Septembre Musical de I'Orne Festival in France.
Forthcoming engagements include Verdi's Requiem and Brahms' Ein deutsches
Requiem, Rossini's Petite Messe Solennelle, Beethoven's Missa Solemnis and
Strauss' Four Last Songs.
Janet Shell
Janet Shell left a teaching career to study singing at the
Guildhall School of Music but continues her association
with schools in her educational work, devising workshops
for Spitalfields Market Opera and Co-opera Youth, and
founding the Musical Tuckshop — master classes and
workshops for aspiring singers.
Royal
Tunbridge
Wells
In
1989 she won the
International
Concert
Artist's
Competition and was then selected for representation by
the Young Concert Artist's Trust (1990-1993). In 1996
»
b
:
:
she won the Poulenc prize at the Concours Triptyque, the
international French song competition in Paris, followed
by the Roussel prize in 1998.
In recent years Janet's operatic roles have included Dorabella in Cosi Fan Tutte
for the festival at Gawsworth Hall, the title role in Carmen for European Chamber
Opera and Rosina in The Barber of Seville. She also worked on /I Re Pastore for
Opera
North
and
has featured on two CDs of opera highlights for Opera
Interludes.
Other operatic roles have included Orlofsky in Die Fledermaus for European
Chamber Opera, Niklausse in The Tales of Hoffmann for Neath Opera and Olga in
Eugene Onegin for Opera Interludes. Previous experience includes a début at the
Gottingen Festival singing the role of Oronte in Handel's Riccardo Primo and a
début at English National Opera in the world premier of John Buller's Bakxai. She
has also performed the roles of Proserpina in Monteverdi's L'Orfeo for the English
Bach Festival at Covent Garden, Dama in Verdi's Macbeth for Welsh National
Opera, Fortune and Melanto in Monteverdi's The Return of Ulysses for Kent
Opera, Phyllis in Howard Blake's The Station in the Purcell Room, Carmen for
Opera Interludes and the Sorceress in Purcell's Dido and Aeneas in Southwark
Cathedral. More recently Janet has sung the role of Dido. Her other roles have
included Eduige in Handel's Rodelinda at Hopetoun House, Katisha in The Mikado
and Second Lady in The Magic Flute, Flora and Annina in La Traviata, Suzuki in
Madame Butterfly for Holland Park Opera and Volpino in Haydn's Der Apotheker
for Aix-en-Provence Chamber Opera.
12
Guildford Philharmonic Choir
Notable performances on the concert stage include Mahler's Symphony No.
8 in
Canterbury Cathedral, the Royal Albert Hall and in Lille in October 1997 and
in
December, a performance of Messiah in Pamplona; the Angel in Elgar's
The
Dream of Gerontius, The Music Makers, Verdi's Requiem, Mozart's Coronation
Mass with the Royal Flanders Philharmonic Orchestra, Honneger's King David,
Beethoven's Symphony No. 9 with the Cairo Philharmonic Orchestra, Beethoven's
Missa Solemnis with the Royal Philharmonic Orchestra in the Albert
Hall,
Canteloube's Songs of the Auvergne and a Last Night of the Proms with
the
Bournemouth Symphony Orchestra, Tippett's A Child of our Time, Mozart's
C minor Mass, Mahler's Lieder eines fahrenden Gesellen, Elgar's Sea Pictures,
Berlioz's Les nuits d'été, Rossini's Petite Messe Solennelle at St. John's
Smith
Square, Bach's St Matthew Passion, Haydn's Harmonie Messe at the Barbican
and St Nikolai Messe with the Scottish Chamber Orchestra on tour in Brazil.
She
gave the world premier of Goroesiad Cened! by Richard Elfyn Jones, a major
new
work for mezzo-soprano, choir and orchestra for the Montgomeryshire
Music
Festival in May 2000, her first experience of singing in Welsh. She returned
to
Wales to repeat this in May 2001.
Christopher Lemmings
Christopher Lemmings studied at the Guildhall
School of Music & Drama under Johanna Peters
and
Margaret Lensky,
Michelle Wegwart.
and currently studies with
Roles include Covent Garden debut as Stingo in
Nicholas Maw's Sophie’s Choice under Sir Simon
Rattle,
Caliban
in
Thomas
also
for
Ades’ new opera
Covent Garden and
BBC Television; for Glyndebourne Tour: Tito in
La Clemenza di Tito; Belmonte in Die Entfiihrung;
Lechmere in Owen Wingrave; for Glyndebourne
Festival: Il Maestro di Ballo in Manon Lescaut, and
The
Tempest,
Bartholomew, a role he created,
Birtwistle’s
Staatsoper,
The
Last
Berlin
Supper,
under
in Sir Harrison
premiéred
Daniel
at the
Barenboim:
Don Ottavio in Don Giovanni (Cologne/Verona); Albert in Albert Herring (English
Touring Opera); L'abate di Chazeuil in Adriana Lecouvreur and Ferrando in Cosi
Fan Tutte for Holland Park Opera.
Other 20th century/contemporary music includes: Edmund in Toshio Hosokawa’s
King Lear, Linbury Theatre, Royal Opera House; Beauty in Gerald Barry’'s Triumph
of Beauty and Deceit with Almeida Festival in Aldeburgh, London and Berlin;
Molqi
in The Death of Klinghoffer for Finnish National Opera; Perela in Pascal Dusapin’s
Perela L'uvomo di Fumo Bastille (Montpelier) and Nihilist in Lady Macbeth of
Mtsensk (English National Opera).
Opera in concert includes: Hotel Porter in Death in Venice, Lechmere in
Owen
Wingrave and Molqi in The Death of Klinghoffer at the Concertgebouw Amsterdam
Guildford Philharmonic Choir
13
under Edo de Waart; ltulbo in // Pirata for Chelsea Opera Group, Queen Elizabeth
Hall. Other concert appearances include Finzi's Intimations of Immortality with the
Royal
Liverpool
Philharmonic; Rossini's Stabat Mater with the RTE Concert
National Concert Hall, Dublin and Haydn’s Stabat Mater with the
Norwegian Radio Symphony Orchestra.
Orchestra,
Performances in 2004 included Janacek's Glagolitic Mass with the Brighton
Festival Chorus, Scaramuccio in Ariadne auf Naxos for both the Royal Opera,
Covent Garden and Welsh National Opera, and Caliban in Thomas Ades’
The Tempest in Strasbourg.
Richard Strivens
Richard Strivens was born in Thanet. Following a degree
in chemistry at Oxford University, Richard studied at the
Royal
Northern
College
of
Music,
Manchester,
EurOperaStudio, Milan and the National Opera Studio in
London.
He has sung Nick Shadow in The Rake’s Progress for
English Touring Opera, the title role in Don Giovanni for
Ryedale Festival Opera, Strojnik in Veéc Makropulos for
Glyndebourne Festival Opera, Colline in La Bohéme for
Scottish Opera on Tour, Masetto in Don Giovanni for
Cologne Opera and Tergisto in Pallavicino’s Messalina
at the Batignano Festival in Italy.
His other operatic roles include Mozart's Figaro and Count Almaviva, Simone (La
finta
semplice) for the Classical Opera Company, Dikoj (Kata Kabanova),
Collatinus (The Rape of Lucretia), Hel Helson (Paul Bunyan), the bass roles in
The Martyrdom of St Magnus for The Opera Company, Vermeer (The Second
Mrs Kong), Zoroastro (Orlando), Tiridate (Radamisto) and Ariodate (Serse) with
the Cambridge Handel Opera Group; Le Gouverneur (Le Comte Ory), Zuniga
(Carmen) and Don Quichotte. He appeared as Giovanni in Channel 4's
Don Giovanni Masterclass with Sir Thomas Allen.
Richard’s concert appearances include The Dream of Gerontius for St David’s
Cathedral Festival, Bach's Ich habe genug, St Matthew Passion and Christmas
Oratorio with Nicholas Cleobury and the Britten Sinfonia; Bach's Magnificat with
the Northern Sinfonia and Nicholas McGegan; Strauss' Deutsche Motette and
Handel's Messiah with the Joyful Company of Singers; The Creation, St John and
St Matthew Passions; Purcell's Jehova quam multi sunt omnes at the St Endellion
Festival, Verdi's Requiem at Bridgewater Hall; Mendelssohn's Eljjah, Brahms'
Ein deutsches Requiem, Saint-Saéns' Christmas Oratorio and Berlioz's L ’enfance
du Christ.
14
Guildford Philharmonic Choir
Jeremy Backhouse
Jeremy
Backhouse
began
his
musical
career
in
Canterbury Cathedral where he was Head Chorister, and
later studied
music
at Liverpool
University.
He
spent
5 years as Music Editor at the Royal National Institute for
the Blind, where he was responsible for the transcription
of print music into Braille. In 1986 he joined EMI Records
as a Literary Editor and from April 1990 he combined his
work as a Consultant Editor for EMI Classics with his
career as a freelance conductor. In November 2004, he
took the post of music editor at Boosey & Hawkes Music
Publishers.
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as one
of the finest chamber choirs
in the country.
Since winning the
prestigious
Sainsbury’s Choir of the Year competition in 1988, they have performed regularly
on the South Bank and at St John’s, Smith Square in London, as well as in the
cathedrals
of
Canterbury,
Chichester,
Winchester,
Hereford,
Ely
and
Peterborough. In February 2002 the Vasari Singers performed the UK Premiere of
Dupré’s
oratorio La France au
Calvaire, followed
by a World
Premiere CD
recording, on the Guild label. As a new departure, the Vasari Singers’ recent Guild
label CD, Our love is here to stay, is a collection of close harmony, blues and jazz
numbers, including several arrangements by Ward Swingle, their Patron. Their CD
of Howells' Requiem and Frank Martin's Mass For Double Choir was released by
Signum Records in January 2004, and a CD of Brahms' Ein deutsches Requiem,
in a piano duet version featuring the Guildford Philharmonic Choir's accompanist,
Jeremy Filsell, will be released later this year on the Guild label.
In
January
1995,
Jeremy
was
appointed
Chorus
Master
of the
Guildford
Philharmonic Choir, and now conducts the majority of the choir's concerts. In
March 1999, Jeremy gave a “masterly” performance of Bruckner's Mass in E minor
and Mahler's Symphony No. 2 in Guildford Cathedral; last season he significantly
extended his Mahler repertoire with a performance of Symphony No.
8, the
monumental 'Symphony of a Thousand'.
Jeremy has worked with a number of the leading choirs in the country, including
the Philharmonia Chorus
(preparing for Sir Colin Davis), the London Choral
Society (for Ronald Corp) and the Brighton Festival Chorus (for Carl Davies). From
September 1998 to the end of 2004, Jeremy was the Music Director of the
Wooburn Singers, only the third conductor in the distinguished history of the choir,
following Sir Richard Hickox (who founded the choir in 1967) and most recently,
Stephen Jackson.
Guildford Philharmonic Choir
15
the
Braincenio
W Sinfonia
The Brandenburg Sinfonia is one of the most dynamically versatile musical
organisations in the country. It is renowned for its special quality of sound and
poised vivacity in performance. The orchestra performs regularly in the majority of
the major venues across the country, and in London at the Barbican, Royal Albert
Hall, Queen Elizabeth Hall, Fairfield Hall and St John's, Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has visited France,
USA, Bermuda, the Channel Islands, Barbados and St Petersburg, Other tours
include Germany, Japan and Hong Kong.
In 1999 the orchestra established major concert series at both St Martin-in-theFields and Crystal Palace Bowl. In Autumn 2001 the orchestra undertook a major
classical music cruise on the QE2.
A large number of artists of international standing have worked with the orchestra
including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John Wallace,
Michael Thompson and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give around
100 performances of orchestral, chamber, choral and operatic music during the
year.
The orchestras for a number of touring companies are formed from members of
the Brandenburg Sinfonia including First Act Opera, London City Opera, Opera
Holland Park, London Opera Players and Central Festival Opera.
e
e
S
B
Myself and
oG
e
e
B
e
e
e
R
my companion were
R
T
both
e
e
e
extremely
Sl
T
T
S
impressed with
S
G
S
the
standard of the singing, which is not easy a) in the cathedral and b) withan
orchestral accompaniment. We were also hugely impressed with the Forest
Orchestra, who were probably the most exceptional community orchestra |
o
have ever heard and again played a very tricky score in difficult acoustics
.
With ease. Jeremy Blackhouse is obviously a fantastic director and Michael
Bundy in particular as the Priest and Angel of the Agony simply blew us
both
%«
16
away.
A
very
strong
interpretation
and
an
unrivalled
so-called
'amateur’ one in my experience, worthy of the music.—'Gerontius’ from
&
Simon Ashall; Chief Reporter Surrey Advertiser
|
Guildford Philharmonic Choir
Brandenburg Sinfonia
Violin 1
Flute
Horn
Simon Fischer
Anna Pyne
Richard Steggal
Charles Sewart
Debbie Davis
Rebecca Hill
Emil Chakalov
Terry Shew
Liang Lee
Susie Walker
John Smart
Tom Jackson
Violin 2
Oboe
Trumpet
Anna Biggin
James Beatty
Craig Patterson
Catrina Hepburn
Helen Barker
Ben Godfrey
Viola
Clarinet
Trombone
Rachel Bolt
Juan Lluna
Mark Townend
Stephen Wright
Stephen Mass
S Cordiner
Caroline Holloway
Catherine Lett
Hannah Biss
Dougal Prophet
Cello
Bassoon
Timpani
Sue Dorey
Simon Estell
Janne Metsapelto
Dominic O'Dell
Joanna Cackett
Emma Vidgeon
Bass
Albert Dennis
Jonathan Moss
Guildford Philharmonic Choir
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. Since this time, the Choir has grown both in stature and
reputation and can now rightly claim its place as one of the foremost Choruses in
the country. 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, and the
Choir is now independent from the Borough of Guildford.
In March 1999 the Choir gave a widely acclaimed performance of two works which
must surely rank among the greatest choral works of all time, Mahler's Symphony
No. 2 — ‘Resurrection’ and Bruckner's Mass in E minor. The Choir enjoyed a
challenging and exciting concert programme for the 2000/01
season,
which
included Brahms’ Ein deutsches Requiem and Vaughan Williams’ Sea Symphony.
The
2001/02
season
included
performances
of
Handel's
Messiah,
Mozart's
Vesperae Solennes de Confessore, Haydn’s Nelson Mass and a patriotic and
thrilling concert to celebrate the Queen’s Golden Jubilee. The choir also performed
with the tenor Russell Watson in two concerts: at the Royal Albert Hall, London,
and at Brighton. The 2002/03 season started with a performance of Dvorak’s
rarely heard and beautiful Requiem and was followed by a powerful performance
of Verdi's Requiem for the annual Guildford Borough concert. Undoubtedly, the
climax of the season was Mahler's Symphony No. 8, where the choir combined
forces with Lewisham Choral Society, the South West Essex Choir and the Grey
Coat Hospital Girls Choir.
The 2003/4 season opened with an evening of Baroque music. In February the
choir sang
Haydn’'s
Te Deum and
Beethoven’s
Symphony No.
9, with the
Guildford Philharmonic Orchestra, for the annual Guildford Borough concert. This
was followed in March by a concert of American music, featuring works by Barber,
Bernstein, Copland, Stravinsky and others. The season concluded with thrilling
performances of Borodin’s Polovtsian Dances and Prokofiev's Alexander Nevsky
(both in Russian), and Rachmaninov’'s Piano Concerto No. 3, performed by the
choir's outstanding accompanist, Jeremy Filsell.
The current season opened with a highly acclaimed performance of Elgar’s
The Dream of Gerontius, and we are already looking forward to the challenges of
our next concert on 14 May.
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 information about any of our future concerts, please contact Noreen Ayton,
tel: 01932 221918. 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.
The Choir’s website can be found at www.guildfordphilharmonicchoir.org.uk
18
Guildford Philharmonic Choir
Guildford Philharmonic Choir
FIRST SOPRANOS
FIRST ALTOS
Gemma Allred
Penny Baxter
Bob Cowell
Noreen Ayton
Jane Brooks
Tim Hardyment
Helen Beevers
Jo Dickson
Nick Manning
Mary Broughton
Celia Embleton
Chris Robinson
John Trigg
Miranda Champion
Ingrid Hardiman
Sara Dann
Susan Hinton
FIRST TENORS
Gemma Davis
Valerie Leggatt
Claire Day
Kay McManus
Bob Bromham
Rachel Edmondson
Christine Medlow
Tony Cousins
Calli Hayes
Rosalind Milton
Stephen Linton
Kathryn Leigh
Penny Muray
SECOND TENORS
Hilary Minor
Jacqueline Norman
FIRST BASSES
Susan Norton
Penny Overton
John Britten
Robin Onslow
Marjory Rollo
Tony Bundy
Rachel Owen
Lesley Scordellis
Michael Dudley
Margaret Parry
Catherine Shacklady
Geoffrey Forster
Margaret Perkins
Maureen Shortland
Vaidotas Gerikas
Emma Purvis
Jane Sweaney
Michael Golden
Gillian Rix
Hillary Trigg
Keith Hester
Judy Smith
Pamela Woodroffe
Laurie James
Chris Peters
Carol Terry
SECOND ALTOS
David Ross
Marion Arbuckle
Philip Stanford
SECOND SOPRANOS
Sally Bailey
Kieron Walsh
Jacqueline Alderton
Evelyn Beastall
Nikki Vale
SECOND BASSES
Anna Arthur
Iris Bennett
Josephine Field
Mary Clayton
Dan Adderley
Lucy Foster
Andrea Dombrowe
Peter Andrews
Mandy Freeman
Carolyn Edis
Roger Barrett
Heather Godfrey
Valerie Garrow
Alan Batterbury
Jane Kenney
Barbara Hilder
Norman Carpenter
Judith Lewy
Carol Hobbs
James Garrow
Krystyna Marsden
Sheila Hodson
Nick Gough
Lois McCabe
Yvonne Hungerford
Michael Jeffery
Stephen Jepson
Alison Newbery
Brenda Moore
Alison Palmer
Jean Munro
Neil Martin
Kate Peters
Prue Smith
Maxwell New
Rosalind Plowright
Alex Stevens
Roger Penny
Susannah Priede
Rosey Storey
Nigel Pollock
Alison Rawlinson
Elisabeth Yates
Michael Taylor
Ann Sheppard
Maggie Smith
Kathy Stickland
Rachel Wheldon
Christine Wilks
Guildford Philharmonic Choir
Choir Functionaries
Jeremy Backhouse
Chorus Director
Jeremy Filsell
Accompanist
The Committee
John Trigg
Bob Cowell
Chairman
Hon. Treasurer
email: treasurer@guildfordphilharmonicchoir.org.uk
Patrons Liaison
email: patrons@guildfordphilharmonicchoir.org.uk
Miranda Champion
Noreen Ayton
Hon. Secretary
Membership Secretary
Tel. 01932 221918
email: membership@guildfordphilharmonicchoir.org.uk
Stephen Jepson
Jackie Alderton
Projects, Staging overview
Fundraising
Social events
Ladies’ uniforms
Mailing List
Tel. 01932 343625
email: mailing@aguildfordphilharmonicchoir.org.uk
Carol Terry
Minutes Secretary
Michael Taylor
Website coordinator
Rachel Edmondson
Alison Rawlinson
Hilary Trigg
Publicity
email: publicity@guildfordphilharmonicchoir.org.uk
Other responsibilities
Christine Medlow
Music Librarian
Michael Taylor
Ticket Sales
Tel: 01483 444334
email: tickets@guildfordphilharmonicchoir.org.uk
Stephen Arthur
Orchestra and soloist liaison
Front of House
Chris Alderton
20
Guildford Philharmonic Choir
Patrons and Friends of
Guildford Philharmonic Choir
Guildford Philharmonic Choir is extremely grateful to all Patrons and Friends for
their Financial support.
Patrons
Dr. J.B.R. Arbuckle
Golden and Associates
Dr. Roger Barrett
Mrs. Carol Hobbs
Mrs. E.A. Batterbury
Mr. Laurie James
Mr. Bill Bellerby MBE
Mr. & Mrs. Michael Longford
Mrs. Doreen Bellerby MBE
Mr. Ron Medlow
Mr. & Mrs. Peter Bennett
Mrs. Christine Medlow
Mr. G.S. Blacker
Dr. Roger Muray
Mrs. J. G. Blacker
Mr. & Mrs. Maxwell S New
Mrs. Ingrid Brockdorff
Mr. & Mrs. John Parry
Mr. & Mrs. R.H.R. Broughton
Penny & Hayter Opticians
Mr. H.J.C. Browne
Mr. Robert Plowright
Canon Patricia Cousins
Mrs. Jean Radley
Mrs. Maryel Cowell
Mr. & Mrs. B. Reed
Mr.& Mrs.Philip Davies
Mr. Michael Shortland
Mr. Michael Dawe
Dr. & Mrs. M.G.M. Smith
Mrs. Margaret Dentskevich
Mrs. Y.M.L. Tiplady
Mr. & Mrs. G. Dombrowe
Miss Enid Weston
Friends
Dega Broadcast Systems
Mrs. Jean Shail
Maggie van Koetsveld
Mrs. K.C. Stickland
As a Patron, you will be kept informed of future concerts and given priority booking
at our own concerts. You may book an unlimited number of reserved seats at
Cathedral where the concert is sponsored by the GPC.
the
New Patrons and Friends are always welcome. If you are interested in
participating, please contact GPC Patrons Secretary Bob Cowell,
Tel: 01483 770896, or email: patrons@aguildfordphilharmonicchoir.org.uk.
Guildford Philharmonic Choir
21
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERE FACIAS HOUSE, HIGH STREET, RIPLEY,
SURREY GU23 6AF
TEL: 01483 222499 - FAX: 01483 222766
For Com p]czlc?
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Things Italian
Chris Alderton
24 Baker Street
Decorator
Weybsidge
Surrey
Why not let me ‘orchestrate’
your decorating?
Interior and exterior work
Tel: 01932 343625
KT13 8AU
Tel: 01932 840055
|
Email:
thingsitalian@ukonline.co.uk
Website:
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Guildford Philharmonic Choir
23
Forthcoming Programmes
Dates for your Diary
Saturday, 14 May 2005: Guildford Cathedral 7.30pm
‘Contemporary Choral Classics Cycle’ Year 1
Vaughan Williams:
Dona Nobis Pacem (1936)
Karl Jenkins:
The Armed Man: A Mass for Peace (2000)
Promoted by Guildford Philharmonic Choir
Saturday, 22 October 2005: Guildford Cathedral 7.30pm
Holst:
The Hymn of Jesus
Mendelssohn:
Symphony No 2 in B flat major
‘Lobgesang’ (Hymn of Praise)
Promoted by Guildford Philharmonic Choir
The staging for this concert is owned by
the Association of Surrey Choirs. To
hire, please contact Stephen Jepson, tel:
01306 730383. It was purchased with
financial assistance from the Foundation
for Sport and Arts, PO Box 20, Liverpool.
24
Finarcially assisted by
AUILDFORD
G BORGC UGH
Guildford Philharmonic Choir
Programme production:
Cover design by Kate Peters
Coordinator: Jo Andrews
Advertising: Ann Sheppard
Notes and editing: Brenda Moore
Printed by Alison Rawlinson at ARCS Desktop Publishers