GUILDFORD BOROUGH COUNCIL. CONCERTS 1978/79
GUILDFORD BOROUGH
COUNCIL CONCERTS
1978/79
CIVIC HALL, GUILDFORD
SUNDAY 18 MARCH at 3 p.m.
Guildford
Philharmonic
Orchestra
Leader: HUGH BEAN
Helen Walker
Soprano
Susan Kessler
Mezzo soprano
Adrian Thompson
Tenor
Stephen Varcoe
Baritone
John Forster
Harpsichord continuo
Philharmonic Choir
Vernon Handley
Helen Walker
Helen Walker was born in Tunbridge Wells in 1952
and in 1971 became a student at the Guildhall
School of Music, studying first with Joyce Newton,
then with Noelle Barker.
She has performed extensively in recitals and
oratorio, including concerts in St. Paul’s Cathedral,
and Westminster Abbey, recitals in the Fairfield
Hall and Wigmore Hall and has appeared as soloist
at the Royal Festival Hall.
She was winner of the Susan Longfield Competition,
the Ricordi Prize for Opera, and the Tunbridge
Wells Green Room Club Competition for Young
Concert Artists. Recently, she became the winner of
two newly-founded awards: The Glyndebourne
Touring Opera Singer’s Award and the South East
Arts Young Musicians Platform.
Since leaving colege in July 1976, Helen has sung
with the John Aldiss Choir, Kent Opera, and both
the Glyndebourne Festival and Touring Opera. She
has broadcast on B.B.C. Radios 3, Medway,
Brighton and Oxford, has recorded as soloist with
the London Philharmonic Choir, and appeared on
Southern Television’s ‘Music in Camera’
programme.
When professional engagements allow, she uses a
grant awarded by the Royal Society of Arts together
with the Glyndebourne award to study with Hans
Hotter in Munich.
Susan Kessler
Susan Kessler was born in Sydney, Australia, where
she studied with Marjorie Walker. She came to
London in 1973 to further her studies with Erich
Vietheer and Geoffrey Parsons. Later that year she
was awarded a scholarship from the Goethe Institute to further her language study in Germany,
and also was the recipient of scholarships from the
Arts Council of Great Britain and the Australian
Council for the Arts. She returned to Germany in
1975 to study with Gerhard Husch.
She made her debut at the Wigmore Hal in 1975. In
1976 and 1977 she gave solo recitals at the Purcell
Room which were sponsored by the Kirckman
Society, and she has been invited by the society to
give another recital in November of this year.
Miss Kessler was a prizewinner in the Benson and
Hedges Gold Award for Concert Singers in 1977 at
Aldeburgh, and was a Leeds National Musicians
Platform Recitalist the same year.
This concert is promoted by Guildford Borough Council
with financial support from the South East Arts
Last year Miss Kessler returned to Australia for performances in Tippett’s ‘“The Midsummer
Marriage” at the Adelaide Festival of Arts, and to
record recitals for the Australian Broadcasting
Association.
Commission.
Adrian Thompson
Philharmonic Choir
Adrian Thompson is rapidly establishing himself as
one of the outstanding tenors of the younger
generation. He was educated at Wandsworth
School, where as a member of the famous choir he
gained much valuable experience, notably as ‘The
Captain’ in Britten’s vaudeville “The Golden
Vanity”’, which was recorded for London Weekend
The Philharmonic Choir is the larger of the two
choirs under the conductorship of the Musical
Director, who acknowledges with thanks the help he
has received in training the choir from Kenneth
Lank, Assistant Conductor, and accompanists
Television.
In 1973 he went to the Guildhall School of Music
and Drama, where he studied with Duncan
Robertson and Celia Bizony and successfully com-
pleted the graduate course in 1976. He then joined
the opera course for a year studying under Vilem
Tausky. After his appearance as ‘Florindo’ in WolfFerrari’s “The Inquisitive Women”, The Times
described Mr. Thompson as a ‘mellifluous tenor’.
Adrian Thompson has already become established
in the concert and oratorio field and has appeared as
a soloist throughout the country. He has appeared
at the Aldeburgh Festival, the Queen Elizabeth
Hall, and St. John’s Smith Square, and his
engagements have included performances of the St.
John Passion in Manchester Cathedral early this
year, the St. Matthew Passion at the Tilford Bach
Festival, ‘““The Dream of Gerontius’’ at Southwark
Cathedral and in London with the Goldsmiths
Choral Union.
" In 1977 he sang with Kent Opera and was invited to
join Glyndebourne Festival Opera for both the
festival season and the Glyndebourne Touring Company’s season. He now studies with Ian Partridge.
Stephen Varcoe
Stephen Varcoe was born in Cornwall and educated
at King’s School, Canterbury, and King’s College,
Cambridge, where he sang in the choir as a choral
scholar. While at Cambridge he featured as a soloist
with the King’s Choir on television, radio and
records. After graduating, he continued his studies
at the Guildhall School of Music, and was for two
years a member of the very successful vocal group,
The Scholars. He is now a freelance concert singer
Linden Knight and Patricia Wood. The Choir made
its first recording in 1973 with the Guildford
Philharmonic Orchestra: ““Intimations of Immortality” by Gerald Finzi, and in 1976 recorded
Hadley’s “The Trees So High” with the Philharmonia Orchestra.
Vernon Handley
Vernon Handley was born in Enfield, North London, and he studied at Balliol College, Oxford, and
the Guildhall School of Music and Drama. He is
now one of the busiest British conductors, working
regularly with all major London and regional
Orchestras.
Since 1962 he has been Musical Director to the
Municipality of Guildford where he has developed
the Guildford Philharmonic into a professional body
of major importance, and he conducts the Proteus
Choir with singers all aged under thirty, as well as
the larger Philharmonic Choir. He has made several
records with both the Orchestra and Choirs.
In the recording field, he has currently over a dozen
recordings in the catalogue for four major recording
companies and with a repertoire ranging from Finzi,
Vaughan Williams and Tippett to Tchaikovsky,
Faure and Saint-Saens. Recently released is
Dvorak’s ‘New World’ Symphony with the Philharmonia on the new Enigma label, various modern
pieces on the Lyrita label, and for Thames TV he
recently recorded Vaughan Williams’s ballet Job
with the London Philharmonic Orchestra.
His future schedule includes concerts with the LPO,
Philharmonia, Royal Philharmonic Orchestra and
with most of the major regional orchestras. He will
be making further recordings for Enigma, Lyrita
and Classics for Pleasure, and will also be working
with the BBC Northern and Welsh Symphony
studying with Helga Mott.
Orchestras.
Stephen was awarded one of the three 1977
Gulbenkian Foundation Music Fellowships, which
are awarded to help promising young musicians es-
In spite of his crowded schedule, Vernon Handley
still manages to escape to his Gloucestershire home
for a period every year to work on enlarging his
already immense repertoire and to follow his keen
tablish themselves.
Apart from his work as a recitalist on radio and the
concert platform, Stephen Varcoe travels widely to
perform in oratorio around this country and abroad.
After a performance of the ‘“St. Matthew Passion”
in London, ‘The Times’ critic wrote: ‘“Mr. Varcoe
was impressive in the bass arias; he has a voice of
lovely quality and the artistry is all there”.
interest in ornithology.
Mass in B Minor
Bach 1685-1750
In 1733, after long and patient efforts to induce the
Leipzig Town Council to improve the conditions un-
der which he had to provide the Church music,
tial part of the Catholic service has been treated in
Bach petitioned the King of Poland, who was also
the simple style of a composer in the Lutheran
the Grand Duke of Saxony and held his court in
tradition.
Dresden, for the status of Court Musician, hoping
that the dignity of such a title would influence the
Schweitzer, has pointed out that ‘‘some of the splen-
Town Council. As an act of grace he decided to
Catholic tinge. Yet in the other movements we get
compose a special mass for the Grand Duke, a result
the same subjective, intimate spirit as in the can-
of which
was the great
B
minor Mass,
which,
did
and
tatas,
The
great
brilliant
which
we
Bach
chief
may
authority,
choruses
regard
as
have
the
Albert
quite
a
Protestant
however, was not completed until 1738. With his
element in Bach’s religion. The sublime and the in-
petition Bach sent the parts of the Kyrie and the
timate do not inter-penetrate; they co-exist side by
Gloria. Af first Bach was not favoured with the royal
side; they are inseparable from each other like the
patronage for which he was seeking, but after a
objective and the subjective in Bach’s piety.”
number of applications, in 1736, he obtained the title of Court Composer.
“Bach,” says Charles Sanford Terry, “‘was, in fact,
an incorrigible romanticist, extraordinarily sensitive
Owing to the interruption in the composition of this
to literary suggestion, easily inspired to pictorial il-
work, it is probable that Bach never contemplated
lustration, and as rapidly moved to give it musical
all the movements being sung together, and in talk-
expression,
ing nowadays of the greatness of the work it is as
libretto as a whole. In his use of the orchestra, as Sir
not
infrequently
irrelevantly
to
his
well to understand that this greatness lies in some
Hubert Parry points out, Bach, like Handel, hardly
parts of the work, but not necessarily in others.
crossed the threeshold of that art, and did little to
It has often been remarked that the B minor Mass
has an all-embracing spiritual range and appeal.
Apart from the great expressiveness of the music
exploit or contrast the qualities of orchestral tone.
His pigments are idiomatic rhythms rather than
tonal contrasts.”
itself, this is probably due to the fact that this essen-
KYRIE
CHORUS
Kyrie eleison.
Lord have mercy upon us.
DUET (Soprano and Alto)
Christe eleison
Christ have mercy upon us.
CHORUS
Kyrie eleison
Lord have mercy upon us.
GLORIA
CHORUS
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.
Glory to God on high, and on earth peace to men of goodwill.
AIR (Soprano)
Laudamas te; benedicimus te; adoramus te; glorificamus te.
We praise thee, we bless thee; we worship thee; we glorify thee.
CHORUS
Gratias agimus tibi propter magnam gloriam tuam.
We give thanks to thee for thy great glory.
DUET (Soprano and Tenor)
Domine Deus, rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe
altissime; Domine Deus, Agnus Dei, Filius Patris.
O Lord God, Heavenly King, God the Father Almighty. O Lord, the only begotten Son Jesus
Christ most high; O Lord God, Lamb of God, Son of the Father.
CHORUS
Qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem
nostram.
Thou that takest away the sins of the world, have mercy upon us; Thou that takest away the
sins of the world, receive our prayer.
AIR (Contralto)
Qui sedes ad dexteram Patris, miserere nobis.
Thou that sittest at the right hand of the Father, have mercy upon us.
AIR (Bass)
Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.
For thou only art holy, thou only art the Lord, thou only, O Jesus Christ, art most high.
CHORUS
Cum Sancto Spiritu in gloria Dei Patris. Amen.
With the Holy Ghost, in the glory of God the Father. Amen.
INTERVAL
CREDO
CREDO
Credo in Unum Deum.
I believe in one God.
CHORUS
Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et
invisibilium.
I believe in one God, the Father Almighty, Maker of heaven and earth, and of all things visible
and invisible.
DUET (Soprano and Contralto)
Et in unum Dominum, Jesum Christum, Filium Dei unigenitem, et ex Patre natum ante omnia
saecula; Deum de Deo, lumen de lumine, Deum verum de Deo vero; genitum non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram
salutem, descendit de coelis.
And in one Lord, Jesus Christ, the only begotten Son of God, born of the Father, before all
worlds; God of God, Light of Light, very God of very God; begotten, not made, being of one
substance with the Father, by whom all things were made. Who for us men and for our
salvation, came down from heaven:
CHORUS
Et incarnatus est du Spiritu Sancto ex Maria Virgine, et homo factus est.
And was incarnate by the Holy Ghost of the Virgin Mary, and was made man.
CHORUS
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.
And was crucified also for us under Pontius Pilate; He suffered and was buried.
CHORUS
Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris, et
iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.
And the third day he rose again according to the Scriptures and ascended into heaven; and
sitteth at the right hand of the Father; and he shall come again with glory to judge both the
quick and the dead; Whose kingdom shall have no end.
AIR (bass)
Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum
Patre et Filio simuladoratur et conglorificatur; qui locutus est per prophetas. Et unam sanctam
Catholicam et Apostolicam Ecclesiam.
And in the Holy Ghost, the Lord and Giver of life, who proceedeth from the Father and the
Son; Who with the Father and the Son together is worshipped and glorified; Who spake by the
prophets. And one holy Catholic and Apostolic Church.
CHORUS
Confiteor unum baptisma in remissionem pecatorum
SANCTUS
CHORUS
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria ejus.
Holy, Holy, Holy, Lord God of Hosts, Heaven and earth are full of his glory.
CHORUS
Hosanna in excelsis.
AIR (Tenor)
Benedictus qui venit in nomine Domini.
Blessed is he that cometh in the name of the Lord.
AGNUS DEI
AIR (Contralto)
Agnus Dei qui tollis peccata mundi, miserere nobis.
O Lamb of God that takest away the sins of the world, have mercy upon us.
CHORUS
Dona nobis pacem.
The
SATURDAY 7 APRIL at 7.45 p.m.
Grant us thy peace.
Concert
Beethoven,
Gverture ‘Othello’ — Dvorak
Fugal Concerto for Flute, Oboe and Strings —
Holst
Symphony No.2 in minor — Rachmaninov
comprised
of
Butterworth
and
music
by
Dvorak
Mozart,
with
the
brilliant young British pianist Andrew Haigh as
soloist in Beethoven’s Third Piano Concerto. The
large
audience
gave
a
warm
and
enthusiastic
reception for the Orchestra’s performance and we.
Henry Messent, Flute
look
James Brown, Oboe
forward
very
much
to
our
next
visit
to
Gravesend.
THURSDAY 12 APRIL at 7.30 p.m.
Now that the Orchestra is establishing itself as the
LEAS CLIFF HALL, FOLKESTONE
regional orchestra of the South East it is also visiting
Fanfare for the Common Man — Copland
certain venues on a regular basis, one of these being
Folkestone. Folkestone’s classical concert series for
Piano Concerto No.3 — Rachmaninov
Symphony No.2 in B minor — Borodin
1979/80 at the Leas Cliff Hall consists of eight con-
certs, with the Guildford Philharmonic Orchestra
John Lill, Pianoforte
appearing twice. April 12th sees the opening concert
Vernon Handley — Conductor
of the season when the Guildford Orchestra with
Vernon Handley conducting will be joined by the
“GUILDFORD PHILHARMONIC
distinguished British pianist John Lill who will per-
ON THE MOVE”’
Tuesday February 27th saw another appearance in
Gravesend
of
the
Guildford
Philharmonic
Orchestra. This was the third occasion that the
Orchestra had appeared at the Woodville Hall and
because of the success of these Concerts it is hoped
that a regular series will be launched next season in
which
the
Guildford
prominent feature.
Philharmonic
will
be
a
form
Rachmaninov’s Third Piano Concerto.
Copland’s “Fanfare for the Common Man” and
Borodin’s Second Symphony will also be included in
this concert. May 5th and 6th sees the Guildford
Philharmonic appearing in Eastbourne and
Ashford,
performing
Rachmaninov’s
Second
Symphony and the soloist in Beethoven’s First and
Third Piano Concertos will be the Hungarian born
pianist Peter Frankl.