Gwenyth Annear
appeared many times at
Guildford
Gwenyth Annear was born in
Glyndebourne and has sung at
Australia and commenced her
most of the major Festivals in this
Philharmonic
studies at the Elder Conservatorium
of Music, University of Adelaide.
Having won numerous prizes and
country. He is a frequent
Orchestra
Leader: William Armon
Philharmonic
Choir
Gwenyth
Annear
Soprano
Marjory
McMichael
Mezzo Soprano
Duncan
Robertson
Tenor
Michael
Rippon
Bass
Vernon
Handley
Conductor
This Concert forms part of the
Guildford Festival 1971.
broadcaster and has made television
appearances.
scholarships, she decided to come
to England to continue her studies
Michael Rippon
at the Royal College of Music
Michael Rippon was born in
Opera School. In 1964, she was
Coventry. In 1957, he won a
awarded a Countess of Munster
Choral Scholarship to St. John’s
Scholarship, and was also the
winner of the Count Cinzano Opera
College, Cambridge, where he
Scholarship—which included six
Languages. In 1960, his final year
months’ tuition at the Fenice Opera
at the University, he won a
House in Venice. After completing
scholarship to the Royal Academy
her studies in Venice, she appeared
of Music. He has travelled
gained a degree in Modern
at Glyndebourne for the summer
throughout the British Isles,
Festival. In 1968, she re-visited
performing Oratorio, giving recitals
Australia to tour with the
and appearing in Opecra
Australian Broadcasting
productions. Michael Rippon has
Commission. Since returning to
appearcd as soloist at many
England she has recorded many
Festivals, including those at York,
programmes with the B.B.C. in
Leeds and the City of London, and
London and the provinces, and
has broadcast considerably, giving
given many concerts all over the
recitals of Lieder, performing in
country.
opera presentations and appearing
Marjory McMichael
programmes.
as soloist on many light music
Mar,ory McMichael was born in
Edinburgh and studied at the Royal
Scottish Academy of Music with
Lilian Lidell, and then in Munich
with Victoria Vitaprestel for two
years. She studied at the London
Opera Centre in 1966 and 1967. In
1968-69 she toured with Opera for
All and had a big success as
Isabella in “The Italian Girl in
Algiers” and Cherubino in “The
Marriage of Figaro.” For the past
two seasons she has appeared in
the Glyndebourne Festival, and has
also sung with the Dublin Grand
Opera Society.
Duncan Robertson
Duncan Robertson studied at the
Royal Scottish Academy of Music
and at the Royal College of Music,
and was for a time a member of
the Saltire Singers. He is
well-known as an oratorio and
concert singer, and gave the first
British performance of Stravinsky’s
“Canticum Sacrum” in the
composer’s presence. He has
Philharmonic Choir
The Philharmonic Choir which this
year is celebrating its 25th season
is the larger of the two choirs
under the conductorship of the
Musical Director. The Choir has an
extremely wide repertoire and last
year gave the first performance in
Great Britain of Martinu’s “The
Epic of Gilgamesh.” The Director
of Music acknowledges with thanks
the help he has received in training
the Philharmonic Choir from Mr.
Kenneth Lank, the assistant
conductor, and accompanists Miss
Mary Rivers, Miss Patricia Finch
and Miss P. Edden, and from Mrs.
D. W. Wren who has given much
time to a seating plan to
accommodate the Choir.
Requiem
No. 2.
DIES IRAE
Et ab hoedis me sequestra,
Solo Quartct and Chorus
Statuens in parte dextra.
Dies irae.
Dies irae, dies illa,
Confutatis. Bass and Chorus
Confutatis maledictis,
In 1871 Verdi had remarked,
Solvet saeclum in favilla,
Flammis acribus addictis,
“There are so many Masses for the
dead that it is pointless to add any
Teste David cum Sybilla,
Voca me cum benedictis.
Verdi
more.” However, several years
before he had already written the
Chorus
Quantus tremor est futurus,
Oro supplex et acclinis,
Quando judex est venturus,
Cuncta stricte discussurus!
Cor contritum quasi cinis,
“Libera Me” as part of a strange
Tuba mirum.
scheme suggested by the composer
Tuba mirum spargens sonum,
himself that all the leading
composers of Italy should combine
to write a Requiem after the death
of Rossini in 1868. The death of the
poet, Manzoni, in 1873 finally
produced the stimulus needed to get
Verdi to develop the Libera Me
into the Requiem and the Dies
Irae, and then to complete the
Requiem Mass.
It is one of Verdi’s few ecclesiastical
compositions, and was a breath of
fresh air in sacred music when it
was first performed in 1874, and
remains interesting today for the
same reasons. Verdi combines in it
many styles: unaccompanied
choral singing, stylised chant, opera
aria, church and theatre music.
With so many styles in the work, it
has suffered badly from being
“overdone,” despite Verdi’s many
letters to musician friends that they
should simply obey his markings.
He waxed bitter on many occasions
about conductors who indulged in
unmarked rubato and senseless
changing of tempi. The full-blooded
work has survived these maulings,
but is rarely allowed to show off its
lighter textures without undue
Bass and Chorus
Mors stupebit et natura,
Lacrymosa dies illa,
Cum resurget creatura,
Judicanti responsura,
Judicandus homo reus,
Liber scriptus.
Mezzo-Soprano and
Chorus
Liber scriptus proferetur,
In quo totum continetur,
Solo Quartet and Chorus
Qua resurget ex favilla,
Huic ergo parce Deus.
Pie Jesu Domine,
Dona eis requiem!
Amen.
Unde mundus judicetur.
Judex ergo cum sedebit,
Quidquid latet apparebit,
Nil inultum remanebit.
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sybilla.
Quid sum miser.
Quid sum miser tunc dicturus,
Quem patronum rogaturus,
Cum vix justus sit securus!
Rex tremendae.
Solo Quartet and
Chorus
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
Recordare.
Soprano and
Mezzo-Soprano
Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Quaerens me, sedisti lassus,
Juste judex ultionis,
No. 1.
Ante diem rationis,
Donum fac remissionis
Ingemisco.
Interval
During the interval refreshments 5p
will be served in the Surrey Room
by members of the Concertgoers’
Society.
Soprano,
Mezzo-Soprano and Tenor
the first performance.
and Chorus
Teste David cum Sybilla.
Lacrymosa.
sentiment. The composer conducted
REQUIEM
Dies irae, dies illa,
Solvet saeclum in favilla,
Per sepulchra regionum,
Coget omnes ante thronum.
Redemisti crucem passus,
Tantus labor non sit cassus.
Soprano, Mezzo-Soprano, Tenor, Bass
Gere suram mei finis.
Tenor
Ingemisco tanquam reus,
Requiem aeternam dona eis Domine:
Culpa rubet vultus meus,
et lux perpetua luceat eis.
Supplicanti parce, Deus.
No. 3. OFFERTORIO
Solo Quartet
Domine Jesu Christe, rex gloriac,
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu.
Libera eas de ore leonis, nc absorbeat
eas tartarus, ne cadant in
obscurum:
sed signifer sanctus Michael
repraesentet eas in lucem sanctam,
quam olim Abrahae promisisti et
semini ejus.
Hostias et preces tibi, Domine, laudis
offerimus.
Tu suscipe pro animabus illis, quarum
hodie memoriam facimus, fac eas,
Domine, de morte transire ad vitam,
quam olim Abrahae promisisti et
semini ejus.
Libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu, de morte transire ad
vitam.
No. 4. SANCTUS
Chorus
Te decet hymnus, Deus, in Sion, et
Qui Mariam absolvisti,
tibi redetur votum in Jerusalem:
Et latronem exaudisti,
exaudi orationem meam, ad te omnis
caro veniet.
Requiem aeternam dona eis Domine:
Pleni sunt coeli et terra gloria tua.
Mihi quoque spem dedisti.
Hosanna in excelsis!
Preces meae non sunt dignae,
Benedictus, qui venit in nomine
et lux perpetua luceat eis.
Kyrie eleison, Christe eleison.
Sed tu bonus fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Sanctus Dominus Deus Sabaoth.
Domini.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!
No. 5. AGNUS DEI
Soprano, Mezzo-Soprano and Chorus
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.
No. 6. LUX AETERNA
Mezzo-Soprano, Tenor and Bass
Lux aeterna luceat eis, Domine, cum
sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
No. 7. LIBERA ME
Soprano and Chorus
Libera me, Domine, de morte aeterna,
in die illa tremenda; quando coeli
movendi sunt et terra.
Dum veneris judicare saeculum per
ignem.
Tremens factus sum ego et timeo, dum
discussio venerit atque ventura ira.
Dies irae, dies illa, dies calamitatis et
miseriae, dies magna et amara valde.
Requiem aeternam dona eis, Domine,
ct lux perpetua luceat eis.
Libera me, Domine, de morte aeterna,
in die illa tremenda; quando coeli
movendi sunt et terra.
Dum veneris judicare saeculum per
ignem,
Libera me, Domine, de morte aeterna,
in die illa tremenda. Libera me,
Domine.
Sunday 28 March at 3 p.m.
(Note change of date)
The Crossley Clitheroe Concert
Civic Hall
Guildford Philharmonic
Orchestra
Khovantschina—Prelude
Mussorgsky
Piano Concerto No. 5
Prokofiev
Symphony No. 5 (The “Great)
Schubert
JEAN-RODOLPHE KARS
Pianoforte
VERNON HANDLEY
Conductor
Saturday 13 March at 7.30 p.m.
Methodist Hall
Concertgoers’ Society Members’
Evening
RECITAL
Richards Piano Quartet