GUILDFORD
PHILHARMONTIC
Registered
as
a
ANNUAL
8.30pm.
Notice
is
hereby
given
that
Philharmonic Choir will
12th June
1995
at
the
Charity
GENERAL
Agreement
12th
to
Annual
General
Church
Michael
the minutes
of
of the minutes
arising
June
from
at
be as
AGM held
3.
Chairman's Report
4.
Treasurer's
5.
Election of Chairman,Secretary,Treasurer
for the coming season.
6.
Election
of
four
committee members
7.
Election
of
Part
Representatives
8.
Chorus
9.
Appointment
of Assistant
10.
Appointment
of Auditor.
11.
Any
Report
Master's
the minutes
for
Guildford
Road
Guildford.
6th
June,1994.
attached to this notice).
Matters
the
the
follows:-—
2.
on
of
8.30 pm on Monday
Hall,Woodbridge
the
is
1995.
Meeting
be held after rehearsal
the Methodist
(Copy
1026337
MEETING
Monday
The business to be transacted will
1.
No.
CHOTIR
of
last
year's AGM.
year to
30th April
year.
financial
for
for
1995.
and Membership
the
coming
coming
Secretary
season.
season.
report.
Chorus
Master.
other business.
Dawe.
Secretary,
Guildford
Philharmonic
Choir.
9th May,1995.
GUILDFORD
5
PHILHARMONTIC
Registered
as
a
Charity
No.
CHOIR
1026337
ANNUAL GENERAL MEETING
8.30pm.
Monday
12th
June
1995.
Notice is hereby given that the Annual General Meeting of the Guildford
Philharmonic Choir will be held after rehearsal at 8.30 pm on Monday
12th June 1995 at the Methodist Church Hall,Woodbridge Road Guildford.
The business to be transacted will be as
<3
2
follows:-
1.
Agreement to the minutes of the AGM held 6th June,1994.
(Copy of the minutes is attached to this notice).
2.
Matters arising from the minutes of last year's AGM.
3.
Chairman's
4.
Treasurer's
5.
Election of Chairman,Secretary,Treasurer
for the coming season.
6.
Election
7.
Election of
8.
Chorus
9.
Appointment
10.
Appointment of Auditor.
11.
Any
of
Report
on
Report
four
the year.
for
financial
committee members
Part Representatives
Master's
year to
for
30th April
1995.
and Membership
the
coming
Secretary
season.
for coming season.
report.
of Assistant Chorus Master.
other business.
e
Michael
Dawe.
Secretary,
Guildford Philharmonic Choir.
5"
!
N«
9th May,1995.
GUILDFORD PHILHARMONIC CHOIR
Registered as a Charity No.
1026337
ANNUAL GENERAL MEETING
MINUTES of the Annual General Meeting
held at 8.30pm on Monday June 12th
1995 in the Methodist Church Hall, Guildford.
PRESENT: John Trigg (Chairman), members of the committee and 69 choir
members whose names are recorded on the associated register.
APOLOGIES FOR ABSENCE: Alison Newell
1. After correction of the date of the AGM for 1992/3 season, the
minutes of the AGM held on June 6th 1994 were confirmed and signed as
a correct record.
2. MATTERS ARISING: None.
3. CHAIRMAN'S REPORT: Opening his report John Trigg said that on taking
up office he had anticipated a normal year. As things turned out
however it had been anything but - more a baptism by fire!
He said that it was inevitable that the loss of such an experienced
Chorus Master as Neville would lead to uncertainty and difficulties.
These had been overcome however - particularly with the help and
support of Kathy Atkins - and despite all the problems he would
characterise the year overall as one of achievement.
The summer concert had been well supported by the choir and had been
very successful. The Christmas Oratorio had been particularly well
received and the Rotary Concert had probably been our best carol
concert yet. Auditioning in the New Year for Chorus Master particularly with the Brian Wright concert looming - had presented
difficulties. These had been overcome however and the concert had
been a resounding success. The Apostles concert had been well
reported by the press and those who had taken part in the VE Day
celebrations in Hyde Park considered it a great privilege to have
been there. He was grateful to all the committee who had worked so
hard to bring all this about.
He wished to thank retiring members, particularly Michael Dawe who
was not seeking re-election for personal reasons and Jean Radley who
was now leaving the choir after 47 years. As a token of thanks Jean
was presented with flowers. He also wished to thank Stephen Jepson
for his admirable work as Concert Manager.
John then asked Don Walden to come forward and accept a cake to mark
his 50 years with the choir.
Summing up John said that he was confident that we should now be able
to look forward to a period of stability and, with our new Chorus
Director, could build on our past success. Three years ago the
overall financial situation had not been very satisfactory and was
therefore limiting the range of activities which the choir could
undertake. The committee of the day had decided to go for a policy of
building up a substantial cash reserve. This had paid off and as the
Treasurer would be reporting, we were now in a position to be able to
promote our own concerts - eg. the long planned Opera Hits next year
- or not to have to worry unduly about financing a proper welcome for
our Freiburg friends when they next visit. In prospect therefore was
an exciting year ahead to which we could all now look forward with
confidence.
(cont....
TREASURER'S REPORT: Presenting the 1994/5 accounts Chris Robinson said
that financially we had had a very satisfactory season. There had been a
substantial excess of income over expenditure which had contributed to the
satisfactory reserve position already mentioned by the Chairman. Choir
numbers had remained stable at 150.
115 people were now covenanting their
subscriptions. He was hopeful that it would now prove possible to maintain
subscriptions at current levels for the duration of the present covenants.
After highlighting one or two particular items, Chris then thanked Bob
Cowell for his help in computerising the accounts and also for auditing
the finished product.
There were no questions from members for the Treasurer.
Formal adoption of the accounts was proposed by Joy Hunter, seconded by
Margaret Parry and accepted nem.con.
ELECTION OF CHAIRMAN, SECRETARY, TREASURER and
MEMBERSHIP SECRETARY:
CHAIRMAN: John Trigg
SECRETARY: Stephen Jepson
)
) were elected
MEMBERSHIP SECRETARY: Noreen Ayton
)
TREASURER: Chris Robinson
)
unopposed
ELECTION OF COMMITTEE MEMBERS:
There were five nominations for four places. Susan Ranft having offered to
stand aside, John Trigg proposed that the four remaining nominees (Penny
Baxter, Christine Medlow, Margaret Parry and Roger Penny) should be
declared elected unopposed and that the new Committee should be
recommended to co-opt Susan Ranft as soon as practicable.
carried nem.con.
This was
ELECTION OF PART REPRESENTATIVES: The following were declared elected.
Soprano (1): Joan Robinson (2): Dawn Smith
Alto
(1): Alison Newell (2): Prue Smith
Tenor
Bass
o Chris Robinson
(1): Michael Dawe
(2): Norman Carpenter
CHORUS MASTER'S REPORT: A copy of Jeremy Backhouse's report is on file.
APPOINTMENT OF ASSISTANT CHORUS MASTER FOR 1995/6 SEASON:
Peter White was appointed nem.con.
170. APPOINTMENT OF AUDITOR: Bob Cowell was appointed nem.con.
1i1s ANY OTHER BUSINESS:
(i)
(i)
(iii)
(iv)
John Trigg said how grateful he was to Kathy Atkins for her valued
support and wished to thank her on behalf of all the choir.
This year's summer social would be a barbecue at Merrist Wood on
July 17th.
In response to a question John Trigg confirmed that Tod Handley was
the Choir President and that when appointed, he had accepted a
five-year term of office.
Jeremy Backhouse agreed that the published rehearsal schedule would
be amended as and when required. There would probably be a new one
in September when the non-Monday rehearsal venues could be
confirmed.
The Meeting closed at 9.35pm.
[c:Ichoirlam950612.doc p2 + 2]
GUILDFORD PHILHARMONIC CHOIR
AUDITED ACCOUNTS FOR THE YEAR 1994/5
INCOME
Subsaiptions
e
93104
781000
308500
94195
786000
000
33000
1422500|
346000
2027.04
13467 4
Receipls
Piizes
146900
76500
70400|
139900
63000
76900
Ticket Sales
9700
56504
37045,
Music e
50574
5400
Raceived
Biought Forward
Borough Gant
Tax Refund on covenants
100 Club
Fund Raising (nef)
Swealshits
Diinks
Saos
13880
Tapes
‘Social Events nef)
Other
w770
Summer BBQ
1212
Xinas Party
16025
539
Bank Inlerest
5381
000
000
0%
88520
88520
41003
37083
0
308
20398
1a4g7.45)
1531263
TOTAL INCOME
515
A17193|
2605
Mscelaneous
7800
407
1iese
Summer Concert
Other
98528
M0
Workshop
Ghoral Evers (net)
9905
20715
30644
Orchestia Parly
=
36740
EXPENDITURE
4195
9304
1TEM
Hire Charges
268500
258100
Subscriptions o GPS
40500
2000
Bank Charges
Transpor oost(nef)
05
000
27000
725
Publoly
200
%9
Admiistration
54
700
012
11000
Prosonts
.
546825
605100
Fees
3749
Fretberg Visi
TOTAL EXPENDITURE
10067.27)
9658 79|
EXCESS OF INCOME OVER EXPENDITURE
5245 36|
562069
@0
BALANCE SHEET
FINANCED BY
ASSETS
158
151835
Reserves at Start
Curtent G
1097 21
Reserves at End
Premium AC
Stock
Deblors
Sub Tolal
Proflon year
78260
000
210944
1190891
562869
17537 60
2020760
Less
LABILITIES
Advnces
Crodiars
Sub Total
TOTAL
000
27000
267000
17537 60
17597 60
RJCowet
o o
GUILDFORD PHILHARMONIC CHOIR
ANNUAL GENERAL MEETING
12th June 1995
CHORUS MASTER’S REPORT
As still very much the New Boy amongst you, I do not feel particularly well-equipped to
deliver a comprehensive review of the year’s music-making, but will endeavour to give you
a view based on my inevitably initial impressions of the choir.
I imagine that if there is one word that were to sum up the season 1994/5, it would be
‘disruption’. You started the season back in September 1994 looking forward to another
successful year under Neville’s direction, never before having heard my name. However, the
Autumn was dominated by Neville’s impending departure and beginning the onerous task of
finding a replacement for him. I get the impression from chatting with some members of the
choir - and I would like to endorse this fully - that an enormous debt of gratitude is owed
both to the committee, and more especially to Peter White, who provided an invaluable
element of continuity to the Christmas season and a long period of transition.
After bidding Neville a fond farewell after his last two concerts, the Carol Concert and
Bach’s Christmas Oratorio, 1995 came in and the search for a new chorus master was on in
earnest. The element of disruption continued as you were confronted with a number of
unfamiliar faces and differing methods during January, at the same time trying to learn the
Verdi/Scriabin/Berlioz programme. It goes without saying that I was delighted and honoured
to have been appointed to the post and look forward very much to maintaining and improving
the already high standards set by a list of distinguished predecessors. The hand-over period
was again subject to disruption as I had to fulfil obligations with another choir in London that
also rehearsed on Monday evenings; once again we should be grateful to Peter for having so
readily filled in throughout this period. I thought the Verdi/Scriabin/Berlioz concert on 4th
March was a great success. The combined forces of our choir and the Goldsmith’s Choral
Union, all enthusiastically conducted by Brian Wright, made a tremendous sound in the
cathedral, although I soon realised that the acoustic contrives to swallow most of the words
from the choirs. The most memorable element of the evening was perhaps the light show that
accompanied Scriabin’s Prometheus: A Poem of Fire. Stunning effects, exuberant singing and
for me very much an ‘enlightening” experience - or should I say even a baptism of fire!
And so we came to Tod Handley’s Apostles. Very briefly, I would like to try finally to dispel
any bad feelings that might still linger about that concert. To my mind, our rehearsals had
progressed
extremely well;
Tod’s own deep satisfaction after his first,
Monday night
rehearsal was very evident; indeed, he was almost embarrassingly complimentary of the choir
and me, and what we had achieved. The Thursday night rehearsal, as we all know, was a less
happy affair, the far from acceptable acoustic at St Saviour’s, to my mind, instigating a
dramatic loss of collective choral confidence. Tod’s handling of the situation that evening and
on the Saturday afternoon may not have been what many people had expected, but from that
we must learn positively and put it down to experience. My approach on both days, including
my conversation with Tod after Saturday’s rehearsal, centred around drawing from both
parties that which was necessary for you to be able to perform to the best of your ability that
evening. That the concert was as successful as it was is a great credit to the choir and I think
the final words of the subject should be left to that erudite, perspicacious, grossly-underrated
critic for The Advertiser, Shelagh Godwin, who wrote that the music was "superbly sung,
with great conviction and consummate accuracy".
And so now to the summer concert, and the first concert thatI feel I have my hands fully on
the reins. I hope now we can look forward to some sort of stability. The repertoire for the
Shalford Park concert is, I suspect, mostly unfamiliar and perhaps not the usual choral
society fare; an increasingly varied repertoire, the balancing traditional with the more
unusual, is something I hope to bring to the choir in my time with you. Anyway, the evening
should be thoroughly enjoyable, if all goes according to plan and I would urge you to make
a night of it, bringing along as many friends and relations as you can.
For the season ahead, there are a number of exciting projects. I should perhaps say that it
is a programme that was largely in place before I was appointed, so does not necessarily
reflect my influence, although I must say it balances very nicely standard repertory with more
challenging contemporary works. When planning the 1996/7 season, I look forward to
liaising closely with Kathy (and possibly En Shao) with regard to the choir’s contributions.
New works include Great is the glory by Jonathan Willcocks (son of Sir David) conducted
by the composer - the concert also features Parry’s Blest pair of Sirens - a wonderful sing!
Another new work O Captain! My Captain! by an amazingly enthusiastic Scouse composer,
Stephen Watson, we will give in concert in early March as well as record at Abbey Road
Studios, London. Later in March, I look forward to meeting your friends of the Freiburg
Bach Choir when they come to Guildford for the Dvorak Stabat Mater - that promises to be
a grand occasion. The ever-popular Verdi Requiem in May will be followed by an equally
popular - we hope - Opera Pops extravaganza in July. All this, along with rehearsal dates and
venues, can be found in the new schedule.
On that schedule, I have maintained the idea of a Minimum Rehearsal Requirement, on which
T hope you will keep a close eye - which leads me to speak very briefly about collective and
individual choral responsibility, an aspect of belonging to a choir that I consider of extreme
importance. Even in a choir of this size, every single person matters, both vocally, socially
and organisationally. My view of a fully successful, committed choir is one where everyone
contributes to the life of the choir in all its aspects in as positive way as they possibly can.
Rehearsal attendance is of course the most basic responsibility and I would hope that
everyone would come to most rehearsals. Then and only then can I get the very best out of
the choir. Singing in a choir is a team game; to miss a practice may be to let your team
mates down. Where would England be now if Rob Andrew had missed the session when his
team was practising drop goals! So if rehearsals are unavoidably missed, then I would expect
people to work on the music at home. Scores should be worked on at home anyway if,
individually, you feel you need so to do. Of course, it is my job to prepare the choir for
performance and that I will do to the best of my ability, but you are the ones that have to
perform the music, so you must feel confident in yourselves of your ability to sing the work
in hand. Please feel that you can speak to me, directly or via a Voice Rep or commitee
member if you prefer, if there are any difficulties or if you have something of a more general
nature to say, but please don’t ever let anything fester!
One of the options for an incoming Director is the immediate re-auditioning of the entire
choir. You will no doubt be relieved to hear that that is not an option I will take up, but, in
a small change to re-audition procedure and so that I get an opportunity properly to hear each
individual voice over the next couple of years, I will want to hear everyone sing a prepared
song, in addition to the usual ear-tests and sight-reading.
That’s it then - thank you welcoming me so readily. I am already enjoying my time with you
and look forward very much to continuing to work together in the future, establishing a
strong musical and social rapport and building on the high standards that very evidently have
already been achieved in the past.