Guildford Philharmonic Choir
President: Sir David Willcocks, CBE, MC
Conductor: Jeremy Backhouse
NEWSLETTER
| Editor: Margaret Dentskevich
ISSUE6 - APRIL 2002
|
THE HISTORY OF THE GUILDFORD PHILHARMONIC CHOIR
by Bill Bellerby
INTRODUCTION
We are proud that Doreen and Bill Bellerby have agreed to be our Honorary Patrons - they must be
the longest and strongest supporters of the Philharmonic organization in Guildford.
Both born in Wales, they married in 1941 and Bill, already in the army, received a sporting injury and
instead of being sent to India, was posted to Guildford. When Doreen heard from Bill that he had been
given the responsibility of training hundreds of young women A.T.S. recruits, she decided her presence
in Guildford was needed!!
Thus it happened that they both went to the Odeon Cinema in the Upper High street to
listen to the first concerts in Guildford after the war.
Both Doreen and Bill are Honorary Freemen of Guildford and were given the M.B.E. for
|
their services to the people of Guildford.
Bill has very kindly outlined the development of the choir from those early days.
Hilary Trigg
1945 Crossley Clitheroe was the conductor of the
Guildford Municipal Orchestra. The players were
mainly amateur, with professional support. They performed at the Odeon Cinema on Sunday afternoons.
Crossley Clitheroe formed the Guildford Festival Choir
and a smaller teachers’ choir also existed at that time.
1962 Following the death of Crossley Clitheroe,
Vernon Handley was appointed as conductor of the
Guildford Municipal Orchestra.
In March the orchestra was renamed the
1964
Guildford Philharmonic Orchestra and it eventually
became fully professional.
At about the same time, Vernon Handley formed the
Guildford Philharmonic Choir and the Proteus Choir,
which consisted of younger singers.
Until the recent re-organization of the Borough’s music
scene (1999-2000) the choir and the chorus-master’s
fees were funded by the Guilford Borough Council.
:
:
Bill and Doreen
Guildford Philharmonic Choir is now independent and
arranges its own engagements with the exception of
one official Borough Concert a year with the Guildford
Philharmonic Orchestra.
Bill Bellerby
GUILDFORD PHILHARMONIC CHOIR GRACE THE ROYAL ALBERT HALL
The Guildford Philharmonic Choir sang at the Royal Albert Hall on October 18" in the first London concert with
the new English tenor, Russell Watson, who has been top of the pop classic charts for months. Russell, who shot
to fame in the last two years, had this concert sold out since August.
The choir sang several popular numbers with Russell and also had a “solo” spot with the Royal Philharmonic
Orchestra, when they sang the Triumphal Entry from Verdi's Aida. At the end of the concert Russell, choir and
orchestra received a standing ovation.
WHY DID ALL THIS HAPPEN?
Noreen Ayton explains:
Many people in the choir were curi-]
ous to know about my connection
with Russell.
The answer is that there isn’t one.
| have known Bill Hayward since 1970, first as accompanist to and later as conductor of the local choir |
sang with when my children were small, and then as
Director of Music at St Maur's Convent, Weybridge.
He took up this post in the senior school at the same
time that | was appointed in charge of music in the
junior department and we worked together very happily for twenty-one years until | took early retirement in
July 1994. When he moved to Shropshire six months
later, we kept in touch and | jokingly said to him not to
forget the Guildford Philharmonic if he ever needed a
Alan Batterbury for the Surrey Advertiser 26.10.01
He did not know how to read music and had been
learning everything by rote, including songs and arias
from abroad, which he imitated without the faintest
idea of their meaning.
At about this time, Bill was working with a group
known as The Three English Tenors, a pale imitation
of Pavarotti, Domingo and Carreras. When one of the
original three decided to break with the group, Russell
was installed in his place and received a limited
amount of help from Bill, who recognised his potential
not as a true operatic tenor but as one who would appeal more to the general public. He began to improve
his technique, understanding and pronunciation of the
words, which led to more offers of work.
choir in this area.
A phone call to me from Bill in the middle of
September set this ‘gig’ in motion for our choir. Bill,
who trained at the Royal College of Music and later at
the London Opera Centre as a repetiteur, is currently
the music coach (some use the title ‘voice coach’) of
the young tenor Russell Watson. The basic question
over the phone that lunchtime was would members of
the Guildford Philharmonic Choir be interested in
backing Russell in six or seven numbers during a sell-
out concert at the Royal Albert Hall on 18" October
and possibly doing one or two numbers on their own
to an audience of six thousand? What could | say but
‘ves’ - pending the committee’s approval. It really
came down to how many of the choir members were
willing and able to take part and whether or not
Jeremy was willing to rehearse us.
Russell had received no voice training before meeting
Bill three or four years ago. As a trainee bolt-cutter in
an engineering works, he had spent many of his evenings singing in the local clubs in and around his
home area of Salford and Manchester.
LAPTAIN
CORELLIS
s aMDOLIN
However, their paths did not cross again until some
eighteen months later, when Russell, having been offered a contract with Decca, was told that he must get
some serious coaching before the recordings could be
made. He immediately contacted Bill in Shrewsbury
and the really hard work began. Russell’s first CD
‘The Voice’ was continuously at the top of Classic
FM’s charts for almost a year in 2000-2001 and now
the second, ‘Encore’, released at the end of October,
also selling very well. He has sung in front of the
Queen, the President of the USA, at the Final of the
World Cup and at the opening of the new Kodak
Theatre in Hollywood, to name just a few of his engagements. Unhappily, his marriage has broken up
and he rarely sees his two young daughters.
g
o
.
i
‘Our’ concert was Russell’s first solo concert at the
]
Tesco’s car park, Brooklands - members of
: ;
the choir assemble before boarding the bus
v 100 to go to the Albert Hall
With less than a week to go, the powers that be had
Royal Albert Hall. As those of us who took part know | decided that our special contribution should be the
only too well, the final selection of numbers involving
Triumphal
Entry from Verdi's Aida, which we duly
the choir was liable to change at the drop of a hat (and | practised, only to find at the concert rehearsal that the
did!); apparently this is quite par for the course with | section for the tenors and basses had been cut - withhis management, but it drove me crazy. Those of you | out telling us! However, our efforts in the evening
who know me well will understand!
The real crunch
were much appreciated, applauded and cheered by
came when we were told at the eleventh hour that the
the huge audience (especially our solo spot) and both
full group of 95 singers was expected to rehearse at | the conductor Michael Reed and Bill said in e-mails to
2.30 on the day (a Thursday!); | told them very firmly | me later the same week that they look forward to
indeed that this was an impossible demand and we
working with the choir again ‘when an opportunity
got by with a surprisingly well-balanced group of fifty-
arises’.
Noreen Ayton
one, which proved to be quite sufficient.
Rehearsing in the afternoon with Mike
Reed conducting the Royal Philharmonic
The Guildford Philharmonic Choir will be singing with Russell Watson again on 27th April 2002
at the Brighton Centre. Approximately 85 members will be participating in this concert.
), 9.9,9,9,9,.9.9.9,9,9.6,9,0,9,9,6.9,0.9,0.9,9.9.9,9.9.9.0.9,.9.9,9.9,0,.9,0.9.9,0.9,0,.9,9,.0.9.9,.9.9,.0,.9.9.90.9,.9.0,.9,
SNIPPETS:
e
Sir Robert Helpman was asked for a comment after the New York opening of the Musical
‘Oh Calcutta’ (one of the first shows with scenes of nudity).
He said
e
“The trouble with nude dancing is that not everything stops when the music stops”.
Swans sing before they die
-
‘twere no bad thing should certain persons die before they sing’
Samuel Taylor Coleridge (1772 - 1834) Epigram on a Volunteer Singer’.
|
|
SOSINRSS
ot
ESuNEEo.
-
N
), 9,9,9.9,9.6,9.9,9.9,9.9,9,9,6.9.9.9,9.9.9,.9.9,0,.9,9,9.9,9,.9.9.9.9.90,9.9.9.9,.9.9.9.9,9.9.9,.90.9,0.0.9.9.9.9.9,.0.0,¢
CONCERT NEWS
ORB & SCEPTRE
: On the 6th April 2002 the Guildford Philharmonic Choir, Orchestra and soloists, performed :
: a special concert to a full audience in Guildford Cathedral to celebrate Her Majesty’s Golden :
: Jubilee Year. This carefully planned concert programme could have foundered with the sad -
: death of the Queen Mother at 101 the previous weekend.
- In the event, Canon Maureen Palmer’s carefully chosen introductory words, followed by a minute’s :
- silence, led perfectly into the very quiet opening of Britten’s superb setting of the National Anthem, ;
: making a compellingly moving start to the evening. ‘Zadok the Priest’ followed immediately after the :
+ climactic end of the Anthem, and set the tone for the rest of the programme. The emotional atmos- » phere was held to the last notes of the “Land of Hope and Glory” theme from Elgar’s seldom heard :
: ‘Coronation Ode’
o
This was a magnificent evening and a fitting musical tribute to commemorate
Her Majesty’s Golden Jubilee
)
.
ORB and SCEPTRE .............. AFTER-THOUGHTS.!
COMING SOON -
!| What a great concert this was, and what a
treat to sm? to a full house! Tell your
‘ELIJ AH’
friends, and family about its success.
Let's
make a
big
effort to
-
make this
happen again for o%r future concerts -
:
......... enthusiasm is infectious!
by Felix Mendelssohn
-
:
b
Guildford Philharmonic Choir
Our next concert in May will be even better!
We need to advertise our concerts to ensure that we
with
.
Orchestra
Forest Philharmonic
.
get a good audience every time
1. Distribute all publicity material as widely as you
Guildford Cathedral
can.
2. Take the time to send handbills to anyone who
25th May 2002 at 7.00 pm
may be interested
3. Offer to get tickets for them
4. Invite them to coffee after the concert.
5. Tell them about the next concert!
Felix Mendelssohn (1809 — 1847)
oy ey
The German composer, Felix Mendelssohn was one
XXX XXXXXXXXXXXXXXXXX
of the most naturally gifted musicians of the nine-
teenth century, developing his skill to a high degree
‘MESSIAH"”
On the 3rd November 2001 we performed Handel's| | | while still a boy. Although he grew up surrounded by
Messiah in Guildford Cathedral. The following is part| | |Romantic influences, his inspiration was essentially
Baroque and Classical music, which his compositions
reflect. He was a Romantic chiefly in his skillful use of
of the review written in the Surrey Advertiser:
:
:
;
literary and other stimuli; his Classical inclinations led
Handel did not need fireworks.............
him to embody these in music of traditional form and
............ Jeremy Backhouse brought out the Baroque
dance feel to the music, encouraging a light, fast,
:
bouncy attack from the choir and from the excellent
The choir was noticeably
Brandenburg Sinfonia.
more confident in the second half and the chorus
Since by Man Came Death admirably showed off their
command of the atmosphere, phrasing, dynamics and
diction. Worthy is the Lamb was an impressive cli-
‘Elijah’ was first performed in Bir-
mingham, 26" August, 1846. It was
one of the three oratorios written by
Mendelssohn. Motivated by the religious dissention occurring at that
time in Berlin, Mendelssohn focused
on a similar conflict that took place in
Judea during Elijah’s time over the
max.
This elegant and quite polished performance deserved a better audience, and it definitely deserved to
be heard free from Guy Fawkes interference.’
divinities Jehovah and Baal.
from notes published by the Handel & Haydn
Jane Garrett Surrey Advertiser, 9" November 2001
Society
MORE SNIPPETS:
e
e
e
elegance.
‘Classical Music is the kind we keep hoping will turn into a tune.’ Music is a beautiful opiate, if you don’t take it too seriously.’
‘Convicts are the best audience I ever played for’.
4
Kim Hibbard (1868 — 1930)
Henry Miller (1891 - 1980)
Johnny Cash (1932— )
THE BLACK ART OF CONCERT PLANNING
As Treasurer, my principal responsibilities are for the financial aspects
The costs for recent concerts were as follows: -
Sea Symphony
Messiah
of concert planning, but | will take
you through some of the other as- pects of concert planning.
£10,640
£ 8,920
These costs vary with the type of musical programme
The cost of soloists is rising.
The
first stage
is
to
book
a
venue.
Every June/July there is a meeting at the Cathedral
where the various choirs and orchestras bid for slots
The Cathedral has be-
come our preferred venue but even here we have to
pay the Civic Hall 10% plus VAT on every ticket THEY
sell.
When we sing in the Civic Hall we pay for the
10% plus VAT on EVERY ticket sold.
for TWO years ahead.
venue and
cause these months tend to give adequate rehearsal
bers to sell tickets rather than let people use the Civic
Naturally, everyone wants a
Saturday evening in November, March and May be-
Clearly there is a financial bonus for the Choir mem-
time when starting the season in September.
Box Office.
The result is that we frequently get unsuitable dates
The Committee then has to consider what to charge
for tickets and how many need to be sold to cover our
The next stage is to identify a programme, an orchestra and soloists. Jeremy does this in consultation with
your Committee.
In the meantime your Treasurer gathers financial information in order to prepare a budget for each concert.
costs. We have to pitch the price so that we are not
out of step with the market. Other sources of income
are adverts in the programmes and the sale of programmes themselves. Sponsorship can also assist.
For example Debenhams sponsored Ghislaine Morgan the Soprano soloist for Messiah.
This can be difficult and extra costs often creep out of
the woodwork. To reduce the chances of items falling
into cracks, we have a standard Excel workbook with
We made a loss of £50 on the Sea Symphony and,
disappointingly for such a “cash cow” type of work,
spreadsheets with key and minor tasks for each mem-
a loss of £535 on Messiah.
ber of the team.
There has been much debate about publicity and both
Alan Batterbury and myself believe that excessive ex-
Typical costs are as follows: -
Orchestra and orchestral music
£3,250 to £5,000
Conductor and soloists
£1,750 to £2,350
Publicity
£1,000
Venue and royalties
£1,000
Commission on tickets
Staging
£
£
250
360
Programme preparation & printing
£
350
Organ/piano and player(s)
£
325to £1,000
100 CLUB WINNERS
penditure on publicity may be ineffective. The most
effective publicity is direct action by members of the
Choir. Clearly some programmes are easier to “sell’
than others but enthusiasm about what we offer does
help. The sad fact is that, with so many groups offering performances in and around Guildford, members
of the Choir HAVE to be the main engine for ticket
sales. Without this we cannot continue to perform to
the standards and with the quality of orchestra and
soloists we have come to expect.
B.C.
Bob is also in charge of running the GPC 100 Club.
Draws are made each month for prizes of £20, £15
and £10, except in June and December when there is
Members of the club pay £12 a year for each share.
a single prize of £100
Month
January
1st - £20
John Trigg
2nd - £15
73
February | Margaret Dentskevich 54
March
3rd - £10
Kathy Stickland
18
Rachel Edmondson
Geoff Forster
33
Chris Robinson
98
59
Jean Monro
81
Maralyn Wong
80
Iris Ball
13
April
Max New
29
Pamela Woodruffe
7
Michael Dawe
95
May
Gillian Rix
46
Jeremy Backhouse
96
Colin Jameson
60
June
Margaret Dentskevich 54
July
Bob Bromham
99
Michael Dawe
26
Sue Hinton
78
August
Mike Dudley
4
Tony Macklow-Smith
47
Margaret Parry
79
September | Jane Kenney
88
Kathy Stickland
18
Valerie Wilkins
53
October
£100
Max New
38
Tony Cousins
58
Colin Jameson
60
November | Max New
38
Celia Embleton
2!
Roger Barrett
61
December | Michael Dawe
26
January
Ros Plowright
10
Judy Smith
41
Margaret Tingley
February
| Ros Plowright
10
John Trigg
73
Max New
38
68
| June Windle
21
Michael Dawe
26
March
Kathleen Aldridge
£100
9
FUND-RAISING
amounts.:-
;
Jackie Alderton J
oth February, 2002 | Car boot sale
Quiz Night - Report
@
£171.60
£100.00
£ 34.00
£ 86.00
£190.00
£226.00
Rehearsal refreshments
Foreign Coin Exchange
Small Change.
Christmas Cake Raffle
Christmas Card Sales
Quiz Night.
Once again we were able to use the | Our next fundraising venfriendly venue of St. Nicolas’ Church | tyre is to sell our collection
Hall, Guildford, to hold our Quiz Night, | of goodies at a car boot
where the brains of Guildford were | gale very soon.
gathered for an evening of "racking",
whilst also enjoying a substantial meal | Many thanks to those of you who have donated items
for sale. My garage has forgotten what its purpose is
and good company.
Those of you who were unable to come |
It hasn’t seen a car for about 5 years now!!
missed a lively and successful evening. We hope you|
| think the expression is "full to the gunwales"!
Finally, thanks to "The Team" (Margaret, Rachel, Mo, Chris, Kate, Mary C Mary B and Norman), for all
their willing help in raising funds), and to all those who have bought cards, raffle tickets and who have donated small change, foreign coins etc, it all helps the cause!!!
MEMBERS
NEW AND RETURNING MEMBERS
Since September the following people have joined the G.P.C.:
David Baxter T2
Tim Keller B1
Kieron Walsh B1
Julia Maitland S1
Maggie Smith S2
Alison Blenkinsop A2
Carolyn Edis A2
Miranda Champion St
Ann Sheppard S2
Angela Hall S2
We would like to extend a very warm welcome to all
new members of the choir and hope that they enjoy a
long and musically rewarding time with us.
1 Other folk are soon to take their audition and we wish
hem all “GOOD LUCK” and look forward to
seeing them amongst our number very soon.
( We all dread our regular ordeal by
audition, so don’t feel you are on your own!!!)
WHO IS THIS LITTLE MAN ?
No prizes for getting the correct
answer, but see page 8 to check.
Jackie Alderton
THE YOUNG PERSON'S GUIDE TO THE CHORUS
In any chorus, there are four voice parts: soprano, alto, tenor, and bass. Sometimes these are divided
into first and second within each part, prompting endless jokes about first and second basses.
Each voice part sings in a different range, and each one has a very different personality. You may ask,
"Why should singing different notes make people act differently?”
The fact is that the four voice parts can be easily distinguished, and | will now explain how.
THE SOPRANOS
are the ones who sing
THE
the highest, and because of this they
think they rule the world.
and
_any given piece.
When they reach the high notes, they hold them for at
least half again as long as the composer and/or conductor requires and then complain that their throats
are killing them.
Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them
inferior. Altos are to sopranos rather like second violins - not really necessary. Tenors, on the other hand,
can be very nice to have around; besides their flirta-
tion possibilities.
To sopranos, basses are the scum
of the earth - they sing too loud and are useless to
tune to because they are in that low, low range.
2
'\\THE
ALTOS
are the salt of the earth -
231N in their opinion, at least.
’\'\‘} }.\1 Altos are unassuming people, who
.
tors would rather sell their souls than
let a halfway decent tenor quit. And
_then, for some reason, the few tenors
they consider themselves
insulted if they are not allowed to go at
least toa hi.gh F in every movement of
&) would wear jeans to concerts if
they were allowed to.
-~/ Altos are in a unique position in the
. chorus in that they are unable to
complain about having to sing either very high or very
low, and they know that all the other sections think
their parts are pitifully easy. But the altos know other-
wise. They know that while the sopranos are screeching away on a high A, they are being forced to sing
elaborate passages full of sharps and flats and tricks
of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually
are, t00).
Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate
distrust of tenors, because the tenors sing in almost
the same range and think they sound better.
Altos’ other complaint is that there are always too
many of them and so they never get to sing really
loud.
are spoiled. That's all
never enough of them, and choir direc-
They have longer hair, fancier jewellery, and swishier skirts than anyone
else,
TENORS
there is to it. For one thing, there are
" there are, are always really good - it's
“ one of those annoying facts of life.
So it's no wonder that tenors always get swollen
heads The one thing that can make tenors insecure is
the accusation (usually by the basses) that anyone
singing that high couldn’t possibly be a real man.
In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the
composer being a sadist and making them sing so
damn high. No conductor in recorded history has ever
asked for less tenor in a forte passage.
Tenors feel threatened in some way by all the other
sections. Of course, the tenors would rather die than
admit any of this. It is a little-known fact that tenors
move their eyebrows more than anyone else while
singing.
THE BASSES sing the lowest of any-
body. This basically explains everything.
They are stolid, dependable people, and have more facial hair than
anybody else.
The basses feel perpetually unap&
i
preciated, but they have a deep
conviction that they are actually the most important
part, despite the fact that they have the most boring
part of anybody and often sing the same note for an
entire page. They compensate for this by singing as
loudly as they can get away with.
Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses
like altos - except when they have duets and the altos
get the good part. As for the sopranos, they are simply
in an alternate universe which the basses don’t understand at all. When a bass makes a mistake, the other
three parts will cover him, and he can continue on his
merry way, knowing that sometime, somehow, he will
end up at the root of the chord..
Anon
A man walked into Boosey & Hawkes, the music publishers, and ordered some sheet music by
Schubert.
order.
When it hadn't arrived three weeks later he visited the shop again to enquire about his
The assistant explained the delay may have been that the music was out of print.
On a sudden inspiration, the customer asked to look at the original order.
The assistant had written, not Schubert’s “Could | but express in Song?”) .......
.......... but Kodaly’s ‘Buttocks Pressing Song”
No wonder the music had not arrived!
(Courtesy of Frank Muir — BBC's My Word)
THE FREIBURG LINK
The Choir’s link with the Freiburger Bachchor was initiated in 1990 by Kathy Atkins, who was then the manager of
the GPO, and Cornelia Grisebach who was already involved with school exchanges.
Freiburg-im-Breisgau is a beautiful medieval town in the Black Forest region of Germany whose mountains and
spas are justifiably famous. During visits in either direction, GPC members generally stay with Bachchor members, and vice versa. The warmth and generous hospitality of the Freiburgers is always outstanding. Our trips to
Freiburg normally include an excursion to a place of interest in the locality and a superb ‘Black Forest’ meal.
Many Choir members have established friendships stretching well beyond the simple exchange visits. Since
1990, visits in both directions have been established, with the combined choirs giving the following performances:
77
OJ
1990 Guildford Cathedral, Beethoven’s Missa Solemnis, conducted by Sir Charles Groves.
1990 Freiburg Munster, Handel's Messiah, conducted by Hans Michael Beuerle (Conductor of the Freiburger
Bachchor).
AO1
1992 Guildford Civic Hall, Ein deutsches Requiem by Brahms, conducted by Hans Michael Beuerle.
1994 Freiburg Stadthalle, War Requiem by Benjamin Britten, conducted by Neville Creed.
1996 Guildford Cathedral, Stabat Mater by Antonin Dvorak conducted by Hans Michael Beuerle.
1998 Freiburg Konzerthaus, ‘Israel in Egypt’ by G F Handel, conducted by Jeremy Backhouse.
1998 Guildford Cathedral, St. Matthew Passion, by J S Bach, conducted by Jeremy Backhouse
From an article written by Norman Carpenter
Hans Michael Beuerle
Jeremy Backhouse
:
‘LM’&“ -,
TP
a2
i
.
‘
%
e
B
Freiburg Konzerthaus
THE NEXT VISIT .........
Plans are being made for members of the GPC to visit Freiburg to perform the Dvorak Requiem with the Bachchor in Freiburg Konzerthaus on Sunday November 10th 2002 (UK Remembrance Day). This will follow a performance of the work by the GPC in Guildford Cathedral two weeks earlier. The opportunity to take part in this exchange visit is open to any choir member wishing to go.
The usual timetable is for the hired coach to leave Guildford early on the Thursday morning and to return home so
as to arrive on the following Monday evening. Most people go on the coach (together with a few spouses), but
some go by car and some fly.
The coach arrives in Freiburg on Thursday evening for an informal reception, after which the visitors disperse,
mainly to the homes of their prearranged hosts although a few prefer to stay in a hotel.
On Friday there is usually an (optional) organized excursion during the day and a combined rehearsal with the
Bachchor in the evening.
Saturday is free during the day with another rehearsal in the evening.
The final full rehearsal is held on the Sunday morning, with the concert performance in the evening. After the
Concert, the Burgermeister of Freiburg attends a formal reception for both Choirs, which is usually also attended
Stephen Jepson
by representatives of the Guildford-Freiburg Association..
Answer to the question on page 6:
This is, of course, a photo of young George Backhouse taken just
before his 2nd Birthday (16/03/02) - His Dad thinks his smile is as a
result of all the tricks he’s going to get up to in his Terrible Twos!!
| hope you have enjoyed reading this sixth edition of the GPC Newsletter. We have had a very busy and interesting
year with great musical success. Let's work together to make the next one even better!
Margaret Dentskevich ( Editor)
If you would like to make any comments or suggestions on this issue, please don’t hesitate to contact me on 01483 768 789 or at rehearsal.
Newsletter design and layout are by Margaret Dentskevich.
,
Printing and production are by courtesy of Alison Rawlinson’s company ARCS
Tel: 01483 239139, Email:arcs @btinternet.com
You will find more information on the Choir’s Internet Web site http://www.GuildfordPhilharmonicChoir.org.uk