GUILDFORD BOROUGH COUNCIL CONCERTS 1979/79
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52nd Enterprising Concert
GUILDFORD BOROUGH
COUNCIL CONCERTS
1978/79
CIVIC HALL, GUILDFORD
SATURDAY 12 MAY
at 7.45 p.m.
Aydin Onac
Aydin Onac was born in Derbyshire in 1952 of a
Turkish father and an English mother. He started to
play the piano when he was nine and he is also a
proficient tuba player. In 1971 he entered the Royal
College of Music and studied with Cyril Smith and
later with Phyllis Sellick.
At college Aydin Onac won the Sydney and Peggy
Shimmin
Prize
for
piano and
became the
first
winner of the Cyril Smith Prize after a performance
of the Rachmaninov Third Piano Concerto at the
Guildford
Philharmonic
Orchestra
Aydin Onac,
Pianoforte
Jill Washington,
Soprano
Philharmonic Choir
Vernon Handley,
Conductor
This concert is promoted by Guildford Borough Council
with financial support from the South East Arts
Association.
Guildford Borough Council acknowledges with thanks the
help it has received throughout the season from members
of the Red Cross Organisation and from the Philharmonic
Society.
memorial concert. Other awards he has won include
the Hastings Concerto Contest and the Croydon
Symphony Orchestra Young Soloist award, both in
1976, and this year he won the first prize for the UK
at the Royal Overseas League competition. This led
to his playing at St. James’s Palace.
He has performed concertos with Norman del Mar
and with Arthur Davison at the Fairfield Halls,
Croydon, broadcast on local radio stations and
recorded for the BBC.
Aydin Onac has been awarded a scholarship by the
Countess of Munster Musical Trust, and by the
Maisie Lewis fund of the Worshipful Company of
Musicians. His “sell-out” debut at the Purcell
Room in December 1977 was a dramatic success.
In April this year he performed Rachmaninov’s
Third Piano Concerto with the London Symphony
Orchestra in the Fairfield Halls, Croydon. His
forthcoming engagements include appearances with
Raymond Leppard and the English Chamber
Orchestra, and with the Royal Philharmonic
Orchestra and Sir Charles Groves. Aydin Onac
recently won the Harriet Cohen award.
Jill Washington
Jill Washington was born in Stoke-on-Trent. Since
1973 she has been studying with Miss Marjorie
Thomas at the Royal Academy of Music where she
has won the Lady Maud Warrender prize for singing and this year was awarded the Jennifer Vyvyan
Scholarship. While at the Academy she has sung a
variety of operatic roles including Belinda in ‘Dido
and Aeneas’, the title role in Holst’s ‘Savitri’ and
Laoula in Chabrier’s ‘L’Etoile’. She has performed
several choral works including Haydn’s ‘Creation’,
Schubert’s ‘A flat Mass’, Kodaly’s ‘Missa Brevis’,
Bach’s ‘B minor Mass’ and ‘Matthew Passion’ and
Handel’s ‘Judas Maccabeus’. She has also sung solo
recitals in and around London.
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
played in 1913, so Images is a triptych of which the
regularly
central picture Iberia is in itself a further triptych.
with
all
major
London
and
regional
Orchestras.
Although
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.
Debussy
hated
being
called
an
im-
pressionist, this work shows him at the height of his
impressionistic powers. It is less symphonic than La
Mer yet even more inventive orchestrally. In other
words the structure does not depend on melody and
melodic development so much as harmonic tensions
and
nuances
of
timbre
and
colour
within
the
orchestra. Max Harrison has said that the ‘fusion of
thought and sound, of music and orchestration, is
In the recording field, he has currently over a dozen
complete. Amid taut glittering precise textures quite
recordings in the catalogue for four major recording
brief melodic ideas grow, by a process of lyrical ger-
companies and with a repertoire ranging from Finzi,
mination rather than thematic development, into
Vaughan Williams
shapes
Faure
and
and
Tippett to Tchaikovsky,
Saint-Saens.
Recently
released
of
great
communicative
richness’.
The
is
Spanish colouring of Iberia was of course nothing
Dvorak’s ‘New World’ Symphony with the Philhar-
new in French music. It appeared just after Ravel’s
monia on the new Enigma label, various modern
pieces on the Lyrita label, and for Thames TV he
the Spanish style essays of Chabrier and Saint-
recently recorded Vaughan Williams’s ballet Job
Saens.
with the London Philharmonic Orchestra.
Rhapsodie Espagnole which in turn had followed
The first movement begins with fast triplets in the
His future schedule includes concerts with the LPO,
wind and percussion and pizzicato chords in the
Philharmonia, Royal Philharmonic Orchestra and
strings. The repeated notes of the triplets are sub-
with most of the major regional orchestras. He will
jected to all sorts of orchestral colour but are rarely
be making further recordings for Enigma, Lyrita
given to the strings. When eventually the second
and Classics for Pleasure, and will also be working
with the BBC Northern and Welsh Symphony
violins take over the triplets the punctuating chords
Orchestras.
melodic fragment and given to the first violins and
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
interest in ornithology.
the
conductorship
playing artificial harmonics with the bow, others
playing the notes pizzicato at the same register as
the piccolo. There follows rich interplay of four
notes against three in all sections of the orchestra
the first tempo and is announced on the horns and
The Philharmonic Choir is the larger of the two
under
piccolo in a most interesting form: some ofthe firsts
and a middle section is reached. This is slower than
Philharmonic Choir
choirs
from the beginning of the work are ironed out into a
of the
Musical
Director, who acknowledges with thanks the help he
has received in training the choir from Kenneth
Lank and accompanists Linden Knight and Patricia
Wood. The Choir made its first recording in 1973
with the Guildford Philharmonic Orchestra: “In-
timitations of Immortality’” by Gerald Finzi, and in
1976 recorded Hadley’s “The Trees So High’” with
the Philharmonia Orchestra.
clarinets but
still contains triplet figuration. The
rhythm of this tune pervades the next section but
eventually the first ideas are reintroduced and the
movement
peters out
on harp, clarinet and per-
cussion. As its title suggests the second movement is
as impressionistic as any orchestral music can be,
divided
strings
and
woodwind
instruments
pro-
jecting a languorous picture of the Spanish summer
night.
Occasional
melodic
fragments
appear
notably on the oboe, the horn, the bassoon and solo
violin but it is the over all atmosphere which is the
important thing to absorb about the movement. The
Iberia
last movement is marked in march rhythm ‘Alerte et
Debussy 1862-1918
joyeuse’. The rhythm is given to the percussion and
Images No.2
strings and the march itself gradually gathers the
1.
Par les rues et par les chemins
2.
Les Parfums de la nuit
3.
Le matin d’un jour de fete
whole
orchestra
procession.
The
together
composer’s
into
a
triumphal
annoyance at
being
labelled impressionistic may have been at the root of
his final gesture at the end of this great march for
Iberia, though No.2 of the three Images, was com-
suddenly
pleted first and had its first performance in 1910.
The third Rondes de Printemps was also premiered
emerge and the final four bars refer back to the
tempo of the first movement and its three/eight time
in 1910 but No.1 Gigues, appeared last and was first
signature.
the
triplets
of the
first
movement
re-
wished to set very carefully, and although some peo-
Piano Concerto No.4 in G Minor (Opus 40)
Rachmaninov 1873-1943
ple have criticised the choice of text for the last
1. Allegro Vivace
symphony, one can see Holst’s wisdom. It is rarely
performed, although it is a most colourful and ex-
2.
movement, when one realises that this is a real
Largo
3. Allegro Vivace
citing work. One of the reasons for its rarity is
The first performance of the fourth concerto was
given in 1927 at a Philadelphia concert with the
composer as soloist and Leopold Stokowski conducting. Rachmaninov was not completely satisfied
with the piece and allowed it to remain in
manuscript. He extensively revised it in 1941 changing details of orchestration in the first two
probably the size of the undertaking for a chorus, for
they are on their feet in every movement, but undoubtedly the main problem is for the conductor,
because
structurally
teresting.
the
symphony
is
most
in-
Holst rings the changes of his moods
brilliantly,
as,
of course,
should
be
so
in
a
symphony, and the contrasts in the verses chosen
movements but completely re-writing the brilliant
finale. If the revised version is looked upon as a new
work the four concertos cover a period of more than
demand very different treatments. On the other
hand, the work is a symphony which also demands
50 years for the first was premiered in Moscow in
a fact invariably missed by his critics, by purely
1891.
musical
integrity and homogeneity, and Holst achieves this,
means.
Each
movement
has
important
material, both melodic and harmonic, made from
The first movement begins with a very brief
orchestral introduction after which the soloist enters
with the main theme. It is a broad sweeping melodic
design rising through an octave and a half and
the
descending through two octaves accompanied by
repeated chords on the wind instruments and
first and a melody founded on it: for example, in the
accents from the strings. When the tempo slows
down the second subject is sung by the piano unaccompanied and these two themes are worked out by
Rachmaninov in the manner of the first movement
of his second symphony. By contrast the Largo is a
dark
brooding
movement
although
it
has
some
episodic relief which only serves to heighten the over
all melancholy.
In re-writing the finale
Rachmaninov turned once again to his symphonic
procedures of the second symphony, the third
symphony and the third piano concerto. Each of
these works turns in its last movement to material
stated in earlier movements. In the fourth concerto
he disguises this procedure by the virtuoso writing
for the piano but as one approaches the last pages
one is aware that each important theme in the work
has made a reappearance.
whole
piece,
and
then,
in each
movement,
melodic material will produce a rhythmic pattern or
sometimes the rhythmic pattern will be established
Prelude, the altos and basses of the choir sing the
words on one note for 17 bars, while the strings of
the orchestra unfold a lugubrious chromatic fugue
against them, but the moment the sopranos enter
they take over the tune that the strings had introduced. In the second movement, each time a picture on the Grecian Urn has been described we hear
the motif that introduces the movement, and this
gives the strange feeling that one is moving round
the Urn or turning it in one’s hand. The Scherzo
must be the fastest extended choral scherzo ever
written, and Holst makes it a classical Scherzo and
Trio, Folly’s Song being a musical and textual contrast to Fancy in that it is as vulgar as Fancy is
delicate. The composer’s choice of words for the last
movement seems haphazard at first, but when seen
as whole is a Hymn to Apollo whose name is never
actually mentioned.
Holst’s
INTERVAL
other masterstroke
together
Choral Symphony
in
binding the work
is
his
use
of
the
solo
crystallises
the
message
of
a
soprano,
movement
who
or
is
responsible for its prelude or epilogue. Such diver-
Gustav Holst 1874-1934
SRS
fourths, thus giving a unity of musical language to
sity of moods and ideas, although realised with great
Prelude: Invocation to Pan
Song and Bacchanal
economy
on
the
Ode on a Grecian Urn
Scherzo — Fancy — Folly’s Song
problems
for
anyone
because much of the subject matter is classical, and
Holst
4. Finale
part
of the
composer,
directing
its
present
performance,
matched its nature in interesting but not
overblown music, yet the moments of warm human
Holst’s Choral Symphony was written for the Leeds
emotion are there woven into the score, and must be
Choral
placed very carefully in performance. Seen briefly,
Symphony as a second one was planned, but his un-
the varied moods of the work are an awesome in-
timely
vocation, a boisterous riot, a contrast with this of
Festival
of
1925.
death
in
He
1934
called
it
his
prevented
First
it
from
being
written. All the words of this symphony are from
great
Keats’s poetry, Holst having chosen the passages he
emotional weight, and then a deeply felt ceremony.
beauty,
a
quicksilver
lightening
of
the
Prelude
Invocation to Pan
Chorus
O Thou, whose mighty palace roof doth hang
From jagged trunks, and overshadoweth
Eternal whispers, glooms, the birth, life, death
Of unseen flowers in heavy peacefulness;
Who lov’st to see the hamadryads dress
Like to a moving vintage down they came,
Crown’d with green leaves, and faces all on flame;
All madly dancing through the pleasant valley,
To scare thee, Melancholy!
O then, O then, thou wast a simple name!
And I forgot thee, as the berried holly
By shepherds is forgotten, when, in June,
Tall chestnuts keep away the sun and moon:
I rushed into the folly!
Their ruffied locks where meeting hazels darken;
And through whole solemn hours dost sit, and
hearken
The dreary melody of bedded reeds —
In desolate places, where dank moisture breeds
The pipy hemlock to strange overgrowth;
Bethinking thee, how melancholy loth
Thou wast to lose fair Syrinx — do though now,
By thy love’s milky brow!
By all the trembling mazes that she ran,
Hear us, great Pan!
Be still the unimaginable lodge
For solitary thinkings; such as dodge
Conception to the very bourne of heaven,
Then leave the naked brain: be still the leaven,
That, spreading in this dull and clodded earth,
Give it a touch ethereal — a new birth:
Be still a symbol of immensity;
A firmament reflected in a sea;
An element filling the space between;
An unknown — but no more: we humbly screen
With uplift hands our foreheads, lowly bending,
And giving out a shout most heaven-rending,
Conjure thee to receive our humble Paean,
Upon thy Mount Lycean!
CHORUS
“Whence came ye, merry Damsels? whence came
ye?
So many, and so many, and such glee?
Why have ye left your bowers, desolate,
Your lutes, and gentler fate? —
‘We follow Bacchus! Bacchus on the wing,
A-conquering!
Bacchus, young Bacchus! good or ill betide,
We dance before him through kingdoms wide:
Come hither, lady fair, and joined be
To our wild minstrelsy!”
SOLO
Within his car, aloft, young Bacchus stood,
Trifling his ivy-dart, in dancing mood,
With sidelong laughing;
And little rills of crimson wine imbrued
His plump white arms, and shoulders, enough white
For Venus’ pearly bite;
And near him rode Silenus on his ass,
Pelted with flowers as he on did pass
Tipsily quaffing.
CHORUS
‘Whence came ye, jolly Satyrs? whence came ye?
So many, and so many, and such glee?
I
SONG AND BACCHANAL
SOLO
Beneath my palm trees, by the river side,
I sat a-weeping: in the whole world wide
There was no one to ask me why I wept, —
And so I kept
Brimming the water-lily cups with tears
Cold as my fears.
Beneath my palm trees, by the river side,
I sat a-weeping: what enamoured bride,
Cheated by shadowy woer from the clouds,
'But hides and shrouds
Beneath dark palm trees by a river side?
And as I sat, over the light blue hills
There came a noise of revellers: the rills
Into the wide stream came of purple hue —
"T'was Bacchus and his crew!
Why have ye left your forest haunts, why left
Your nuts in oak-tree cleft?
‘For wine, for wine we left our kernel tree;
For wine we left our heath, and yellow brooms,
And cold mushrooms;
For wine we follow Bacchus through the earth;
Great God of breathless cups and chirping mirth!
Come hither, lady fair, and joined be
To our mad minstrelsy!” ”
SOLO
Onward the tiger and the leopard pants,
With Asian elephants:
Onward these myriads — with song and dance,
With zebras striped, and sleek Arabians prance,
Web-footed alligators, crocodiles,
Bearing upon their scaly backs, in files,
Plump infant laughters mimicking the coil
The earnest trumpet spake, and silver thrills
Of seamen, and stout galley-rowers’ toil:
From kissing cymbals made a merry din —
With toying oars and silken sails they glide,
"Twas Bacchus and his kin!
Nor care for wind and tide.
CHORUS
Bacchus, young Bacchus! good or ill betide,
We dance before him thorough kingdoms wide:
For wine we follow Bacchus through the earth;
Great God of breathless cups and chirping mirth!
We follow Bacchus! Bacchus on the wing,
A-conquering!
II
5
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed,;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
“Beauty is truth, truth beauty,” —that is all
Ye know on earth, and all ye need to know.
ODE ON A GRECIAN URN
CHORUS
1
Thou still unravish’d bride of quietness,
II1
SCHERZO
Thou foster-child of silence and slow time,
FANCY
Sylvan historian, who canst thus express
CHORUS
Ever let the Fancy roam,
Pleasure never is at home:
At a touch sweet Pleasure melteth,
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these”What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
2
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal — yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
3
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
A burning forehead, and a parching tongue.
4
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e’er return.
Like to bubbles when rain pelteth;
Then let winged Fancy wander
Through the thought still spread beyond her:
Open wide the mind’s cage-door,
She’ll dart forth, and cloudward soar.
O sweet Fancy! let her loose;
joys are spoilt by use,
Summer’s
And the enjoying of the Spring
Fades as does its blossoming;
Autumn’s red-lipped fruitage too,
Blushing through the mist and dew,
Cloys with tasting: What do then?
Sit thee by the ingle, when
The sear faggot blazes bright,
Spirit ofa winter’s night;
When the soundless earth is muffled,
And the caked snow is shuffled
From the ploughboy’s heavy shoon;
When the Night doth meet the Noon
In a dark conspiracy
To banish Even from her sky.
Sit thee there, and send abroad,
With a mind self-overaw’d,
Fancy, high-commission’d: — send her!
She has vassals to attend her:
She will bring, in spite of frost,
Beauties that the earth hath lost;
She will bring thee, all together,
All delights of summer weather;
All the buds and bells of May,
From dewy sward or thorny spray;
All the heaped Autumn’s wealth,
With a still, mysterious stealth:
She will mix these pleasures up
Like three fit wines in a cup,
And thou shalt quaff it: — thou shalt hear
Distant harvest-carols clear;
Rustle of the reaped corn;
Sweet birds antheming the morn:
When Kate Eyebrow keeps a coach,
And, in the same moment — hark!
"Tis the early April lark,
Or the rooks with busy caw,
Foraging for sticks and straw:
Thou shalt, at one glance, behold
The daisy and the marigold;
White-plumed lilies, and the first
Hedge-grown primrose that hath burst;
Huzza for folly O!
When the pig is over-roasted,
And the cheese is over-toasted,
When Sir Snap is with his lawyer,
And Miss Chip has kiss’d the sawyer,
Huzza for folly O!
IV
Shaded hyacinth, alway
FINALE
Sapphire queen of the mid-May;
SOLO
And every leaf, and every flower
Pearled with the self-same shower.
Thou shalt see the field-mouse peep
Meagre from its celled sleep;
Spirit here that reignest!
Spirit here that painest!
Spirit here that mournest!
Spirit I bow
And the snake all winter-thin
Cast on sunny bank its skin;
Freckled nest-eggs thou shalt see
My forehead low,
Enshaded with thy pinions!
Spirit! I look,
Hatching in the hawthorn-tree,
When the hen-bird’s wing doth rest
Quiet on her mossy nest;
Then the hurry and alarm
When the bee-hive casts its swarm;
Acorns ripe down-pattering,
While the autumn breezes sing.
Oh, sweet Fancy! let her loose;
Everything is spoilt by use:
Where’s the cheek that doth not fade,
Too much gazed at? Where’s the maid
Whose lip mature is ever new?
Where’s the eye, however blue,
Doth not weary? Where’s the face
One would meet in every place?
Where’s the voice, however soft,
All passion-struck,
Into thy pale dominions!
CHORUS
God of the golden bow,
And of the golden lyre,
And of the golden hair,
And of the golden fire!
In thy western halls of gold,
When thou sittest in thy state,
Bards, that erst sublimely told
Heroic deeds, and sang of fate,
With fervour seize their adamantine lyres,
Whose chords are solid rays, and twinkle radiant
fires.
Here Homer with his nervous arms
One would hear so very oft?
Strikes the twanging harp of war,
Ever let the Fancy roam,
And even the western splendour warms,
Pleasure never is at home:
While the trumpets sound afar.
At a touch sweet Pleasure melteth,
SOLO
Like to bubbles when rain pelteth;
Then let winged Fancy wander
Through the thought still spread beyond her:
Open wide the mind’s cage-door,
She’ll dart forth, and cloudward soar.
Then, through thy Temple wide, melodious swells
The sweet majestic tone of Maro’s lyre:
The soul delighted on each accent dwells, —
Enraptured dwells, — not daring to respire,
The while he tells of grief around a funeral pyre.
CHORUS
"Tis awful silence then again;
FOLLY’S SONG
When wedding fiddles are a-playing,
Huzza for folly O!
And when maidens go a-Maying,
Huzza for folly O!
When a milk-pail is upset,
Huzza for folly O!
And the clothes left in the wet,
Huzza for folly O!
When the barrel’s set a-broach,
Huzza for folly O!
Expectant stand the spheres;
Breathless the laurell’d peers,
Nor move, till ends the lofty strain,
Nor move till Milton’s tuneful thunders cease.
And leave once more the ravish’d heavens in peace.
Thou biddest Shakespeare wave his hand,
And quickly forward spring
The Passions — a terrific band —
And each vibrates the string
That with its tyrant temper best accords,
While from their Master’s lips pour forth the inspir-
ing words.
).
A silver trumpet Spenser blows,
And, as its martial notes to silence flee,
From a virgin chorus flows
A hymn in praise of spotless Chastity.
"Tis still! Wild warblings from the Aeolian lyre
Enchantment softly breathe, and tremblingly ex-
pire.
SOLO
Next thy Tasso’s ardent numbers
Float along the pleased air,
Calling youth from idle slumbers,
Rousing them from Pleasure’s lair: —
Then o’er the strings his fingers gently move,
And melt the soul to pity and to love.
CHORUS
But when Thou joinest with the Nine,
And all the powers of song combine,
We listen here on earth:
The dying tones that fill the air,
And charm the ear of evening fair,
From thee, great God of Bards, receive their heavenly birth.
Thus ye teach us, every day,
Wisdorm, though fled far away.
SOLO
Spirit here that reignest!
Spirit here that painest!
Spirit here that burnest!
Spirit here that mournest!
Spirit! I bow
My forehead low,
Enshaded with thy pinions!
Spirit! I look,
All passion-struck,
Into thy pale dominions!
CHORUS
Bards of Passion and of Mirth,
Ye have left your souls on earth!
Ye have souls in heaven too,
Double-lived in regions new!
Guildford Philharmonic Orchestra
Director of Music/Conductor:
Vernon Handley
Bards of Passion and of Mirth,
Ye have left your souls on earth!
Have ye souls in heaven too,
Double-liv’d in regions new?
1st Violins
Associate Leaders:
Hugh Bean
John Ludlow
With the spheres of sun and moon;
With the noise of fountains wondrous,
And the parle of voices thund’rous;
With the whisper of heaven’s trees
Frances Fitzpatrick
Vito Gambazza
John Gralak
Kathleen Hamburger
Robert Lewcock
Yes, and those of heaven commune
And one another, in soft ease
Seated on Elysian lawns
Browsed by none but Dian’s fawns;
Underneath large blue-bells tented,
Where the daisies are rose-scented,
And the rose herself has got
Perfume which on earth is not;
Where the nightingale doth sing
Not a senseless, tranced thing,
But divine melodious truth;
Philosophic numbers smooth;
Tales and golden histories
Of heaven and its mysteries.
Thus ye live on high, and then
On the earth ye live again;
And the souls ye left behind you
Teach us, here, the way to find you,
Where your other souls are joying,
Never slumbered, never cloying.
Here, your earth-born souls still speak
To mortals, oftheir little week;
Of their sorrows and delights;
Of their passions and their spites,
Of their glory and their shame;
What doth strengthen and what maim.
Hazel Mulligan
Martin Pring
Andrew Read
Dayle Stevens
David Thompson
Gil White
2nd Violins
Nicholas Maxted Jones
Rosemary Roberts
Marie Louise Amberg
Constance Ames
Jane Bearman
Timothy Callaghan
Ruth Dawson
Violas
John Meek
William Hallett
Ross Cohen
Frederick Campbell
Alison Hunka
Elizabeth Butler
John Harries
Leonard Lock
Cellos
Philip Brothers
Geoffrey Thomas
John Stilwell
John Franca
Pauline Sadgrove
Tina Macrae
John Hursey
Basses
Cynthia Dunn
Adrienne Sturdy
Gregory Squire
Nat Paris
Ronald Tendler
David Willis
Heather Swinburne
Dugald Lees
Peter Buckoke
Flutes
Christopher Nicholls
Kate Hill
Piccolo
Clarinets
Duke Dobing
Hale Hambleton
Victor Slaymark
Oboes
Sara Barrington
‘CATHEDRAL SERIES’
Sponsored by The South of England Building
Society.
Bass Clarinet
5
James Brown
Gordon Lewin
Saturday 28 July 1979 at 7.30 p.m.
Cor Anglais
Bassoons
Canterbury Cathedral
Nicholas Hunka
Overture ‘Leonora No.3’ — Beethoven
David Chatterton
Robin Kennard
Violin Concerto in D minor— Sibelius
Janice Knight
Contra Bassoon
Nicholas Reader
Horns
.
Ronald Harris
Dennis Scard
Valerie Smith
George Woodcock
David Clack
Timpani
Roger Blair
.
Percussion
Jackie Kendle
Steven Brewer
L olet Laans
Richard Parmigiani
Symphony No.2 in D major — Brahms
Soloist: Jame Laredo, Violin
Conductor: Vernon Handley
Saturday 4 August 1979 at 7.30 p.m.
Guildford Cathedral
Overture ‘Leonora No.3’ — Beethoven
Violin Concerto in D minor — Sibelius
Symphony No.2 in D major — Brahms
Trumpets
Richard Fullbrook
Clifford Haines
Harps
Michael Hinton
Thilena Ciwes
Edward Hobart
Jane Lister
Saturday 18 August 1979 at 7.30 p.m.
Trombones
Celeste
Chichester Cathedral
David Evans
John Forster
Overture ‘Leonora No.3’ — Beethoven
Christopher Guy
Soloist: Jaime Laredo, Violin
Conductor: Vernon Handley
Cello Concerto in E minor — Elgar
Bass Trombone
Concerts Manager
Martin Nicholls
Kathleen Atkins
Tuba
Concerts Assistant
Stephen Wick
Nicholas Mathias
Symphony No.2 in D major — Brahms
Soloist: Yo Yo Ma, Cello
Conductor: Vernon Handley
3k 3 % ok ok ok
Tickets
The audience may be interested to know that the
violin sections are listed in alphabetical order after
the first desk, because a system of rotation of desks is
adopted in this orchestra so that all players have the
opportunity of playing in all positions in the section.
for
the
Guildford
Concert
will
be
available one month before the Concert from
Guildford Public Library, North Street, Guildford. Telephone Guildford 0483-68496.
Tickets
from
for
the
Knight’s
Chichester
Music
Concert available
Shop,
41
East
Street,
Chichester. Telephone 0243-785 973.
Surrey University Chamber Orchestra
Varése
Integrales
Vivaldi
Oboe Concerto in A minor
Bartok
Rumanian Dances
Frank Martin
Concerto for Wind, Percussion
and Strings
Conductur — John Carewe
Soloist — John Kalli
University Hall 27th May at 7.30 p.m.
Tickets £1.50 (students/O.A.P.s 75p)
‘GUILDFORD PHILHARMONIC ON THE
MOVE’
This evening’s Concert is the last in the 1978-79
season of Concerts by the Guildford Philharmonic
Orchestra at the Civic Hall, a season which has seen
the Orchestra giving some memorable concerts as
well as performing frequently throughout the South
East of England. In the last month the Orchestra
has given Concerts in Folkestone, Eastbourne and
Ashford with pianists John Lill and Peter Frankl as
soloists. John Lill’s performance of Rachmaninov’s
Third Piano Concerto in Folkestone was given a
most enthusiastic reception, the critic of the
Folkestone & Hythe District Herald wrote, *“‘a performance of such sustained excellence as to earn one
of the most prolonged ovations heard at these
Concert”’. Concertgoers will remember the
Orchestra’s superb performance of Rachmaninov’s
Second Symphony given recently at the Civic Hall
and this work was also included in the Concerts at
Eastbourne and Ashford where it was again given a
tremendous reception.
Now that the Orchestra is establishing itself as “The
Orchestra of the South East” it is attracting commercial sponsorship and during July/August will be
giving a series of three Cathedral Concerts which
are being sponsored by the South of England
Building Society. These will take place at Canterbury, Guildford and Chichester Cathedrals with the
Guildford Cathedral Concert taking place on
August 4th. The programme will comprise of works
by Beethoven, Sibelius and Brahms, with
Beethoven’s Overture Leonora No.3 opening the
Concert, which will be followed by a performance of
the Sibelius Violin Concerto with the distinguished
American Violinist Jaime Laredo as soloist. The
Concert will end with Brahms’ Second Symphony,
and further details about this Concert will be
available during June/July.
The 1979/80 season promises to be the most exciting series the Orchestra has given, with many top
international soloists appearing with the Orchestra
and a varied repertoire of works ranging from
Mozart to the present day. For the first time a subscription scheme is being launched where regular
concertgoers will be able to book for the complete
season at a reduced cost and full details of this
scheme will be available towards the end of June.
The Orchestra and its management look forward to
seeing all concertgoers for the first Concert of the
1979-80 season at the Civic Hall on September 23rd,
not forgetting the Concert at Guildford Cathedral
on August 4th.
.The A.rts Commiittee
University of Surrey
— MAIN HALL —
peethoven Cycle
The 32 piano Sonatas in a series of 8 concerts with
introductory Seminars by members of the Music faculty
27th Aprii
Opus 2no. 1in F minor: Opus 31 no. 3inEb: Opus
106inBb
4th May
Opus 10 no. 1 in C minor: Opus 22 in Bb: Opus 49 no. 1 in
G minor: Opus 49 no. 2 in G: Opus 57 in F minor
11th May
Opus 13 in C minor: Opus 28 in D: Opus 14 no. 2 in G:
Opus 81A in Eb
18th May
Opus 14 no. 1 in E: Opus 2 no. 2 in A: Opus 78 in Fsharp:
Opus 109 in E
25th May
Opus 27 no. 1 in Eb: Opus 10 no. 3inD: Opus 90 in E minor:
Opus 53 in C
1st June
Opus 31 no. 1 in G: Opus 27 no. 2 in Csharp minor:
Opus 10 no. 2 in F: Opus 110 in Ab
8th June
Opus 31 no. 2 in D minor: Opus 26 in Ab: Opus 79 in G:
Opus 101 in A
15th June
Opus 2 no. 3 in C: Opus 7 in Eb: Opus 54 in F:
Opus 111 in C minor
MARTIN HUGHES - piano
CONCERT 8.00 p.m.
SEMINAR 7.00 p.m.
Tickets: £1.50 or £10.00 for the series (Senior Citizens & Students half price) are available from
A. & N. Stores, High Street, Guildford: tel. (0483) 6817 1; DIRECT FROM THE UNIVERSITY MUSIC
DEPARTMENT: tel. (0483) 71281 EXT. 543 or at the door
MARTIN HUGHES appears at the QUEEN ELIZABETH HALL, LONDON in an all BEETHOVEN PROGRAMME
on MAY 24th 1979-7.45 p.m.
SERIES PROMOTION: R. McA. HUGHES