GUILDFORD BOROUGH COUNC[L CONCERTS 197980
Guildford
Philharmonic
Orchestra
GUILDFORD BOROUGH
COUNCIL CONCERTS
Emanuel Ax
1979 /80
pianist, was catapulted into the pianistic limelight
Emanuel Ax, the brilliant young Polish-American
in September 1974 when he won the first Arthur
CIVIC HALL, GUILDFORD
Rubinstein International
Piano Competition.
Ax
was born in Poland in 1949, but at the age of ten he
SATURDAY 8§ DECEMBER 1979
at 7.45 p.m.
and his family left to go first to Canada and then on
to New York where he began studies at the Julliard
School of Music.
Since winning the Rubinstein
Competition, Emanuel Ax has played in most ofthe
musical centres throughout the world and is now in
Guildford
great demand internationally. His records for RCA
and recital discs of works by Chopin, Beethoven,
Ravel and Liszt have all received high praise from
the critics. Mr. Ax has performed with many of the
great American Orchestras and in the 1978/79
season he made his debut with Sir George Solti and
Philharmonic
the Chicago Symphony Orchestra. He also appears
as accompanist on occasions, and has appeared in
this role with such artists as the cellist Lynn Harrell
Orchestra
and celebrated violinist Nathan Milstein. Recently
his first concerto recording was released (Chopin’s
Second Concerto with the Philadelphia Orchestra,
conducted by Eugene Ormandy).
Leader:
JOHN LUDLOW
Fiona Dobie
Fiona Dobie, soprano, was born in Glasgow and
studied at the Royal Scottish Academy of Music
followed by two post graduate years at the Royal
Philharmonic Choir
Emanuel Ax
Fiona Dobie
Glyn Davenport
Vernon Handley
College of Music. During this time she was a
prizewinner at both colleges and was awarded
scholarships by the Sir James Caird Trust and the
Countess of Munster Trust which enabled her to
continue her studies with Lyndon van de Pump,
Winifred Radford, and Hans Hotter in Munich.
Her Wigmore Hall debut was made in January 1978
and in 1979 the South East Arts Association chose
her as one of their winners in 1979.
She records regularly for the BBC and her solo
recordings
include
a
lunchtime
recital
in
the
“Concerthall” series, Baroque chamber music
programmes and a double recording (English and
Russian) of Prokofiev’s opera ‘Maddalena’.
In the professional operatic field she has sung the
following roles with critical acclaim: Susanna in
Festival
Opera’s production
of
Mozart’s
“The
Marriage of Figaro’ with the Northern Sinfonia
Orchestra under Nicholas Braithwaite; Sandrina in
Mozart’s ‘La Finta Giardiniera’ with the Scottish
Chamber Orchestra; The Empress in the British
Premiere of Menotti’s Church Opera ‘The Egg’
with Nottingham Music Theatre; Papagena in the
This concert is promoted by Guildford Borough Council
now famous David Hockney designed production of
with
‘Die
financial
support
from
the
South
East
Arts
Zauberflote’
Opera.
Association.
Y
with
Glyndebourne
Touring
The first movement, although labelled maestoso,
Conservatoire. In one of his letters, he said, ‘I have
has great drive and spirit and is based on two
beautiful and well contrasted subjects, the very free
working out of which is almost entirely left to the
solo instrument, Chopin having got rid of the
orchestra in a bold long opening tutti. Although formally not a very strong sonata movement, it does
have one interesting point which is that its second
subject, the more lyrical of the two, seems to be as
important in the construction as the first subject and
this becomes more apparent in the recapitulation.
my ideal which I fear can only make me unhappy
... but for six months I have been true to the ideal,
waking and in my dreams, and have composed the
adagio of my piano concerto with this ideal in
mind”’.
The Concerto finishes with a brilliant waltz-like
finale which is in rondo form with a mazurka scherzando episode. Although some people have objected
associations, for it was conceived during the time
to a waltz forming the movement of a Concerto,
Chopin is as true to the rondo idea for the movement
as Mozart or Haydn in their concertos and
symphonies, and the constant return of the happy
waltz theme gives the movement a verve which con-
when Chopin was secretly in love with Constantine
trasts beautifully with the earlier larghetto.
The second movement is, in fact, a very decorative
Nocturne, and is thought to have extra musical
Gladkowska,
a
fellow
student
at
the
Warsaw
INTERVAL
Guildford Philharmonic Orchestra brochures, price
40p, are on sale this evening, also key rings at 75p in
the foyer.
Requiem
Faure 1845-1924
Gabriel Faure composed his Requiem Mass in
1886-7, between the death of his father and that of
his mother. The work received its first performance
at the Madeleine, where Faure was organist, in
1888, but it was not heard in England until 1936.
The characteristic restraint and finished detail used
by Faure give the work the style of chamber music.
No section of the forces employed, vocal or instrumental, is in any way used for display. Faure’s
natural inclination was for miniature forms — the
chanson and the nocturne, and his most ambitious
work was the Requiem Mass which, in its harmonic
explorations, foreshadows the musical language of
the twentieth century.
INTROIT AND KYRIE
GRANT THEM REST ETERNAL
Requiem aeternam dona eis, Domine, et lux perpetua luceat
Eternal rest grant them, O Lord, and let perpetual
eis.
:
light shine upon them.
Exaudi orationem meam; ad te omnis caro veniet.
A hymn, O God, becometh Thee in Sion, and a vow
shall be paid to Thee in Jerusalem.
O Lord, hear my prayer, all flesh shall come to
Rynrie eleison.
Thee.
Christe eleison.
Lord, have mercy.
Te decet hymnus, Deus in Sion, et tibi reddetur votum in
Jerusalem.
Christ, have mercy.
OFFERTOIRE
OFFERTORY
O Domine Fesu Christe, Rex gloriae, libera animas defunc-
O Lord Jesus Christ, King of Glory, deliver the souls
from the pains of Hell and from the deep pit; save
torum de poenis inferni, et de profundo lacu; de ore leonis ne
absorbeat Tartarus, ne cadant in obscurum.
Hostias et preces tibi, Domine, laudis offerimus; tu suscipe
pro animabus 1llis quarum hodie memoriam facimus; fac eas,
Domine, de morte transire ad vitam, quam olim Abrahae
promisisti et semini ejus. Amen.
them from the mouth of the lion, nor allow the dark
lake to swallow them up, nor darkness to enshroud
them.
With our prayers, O Lord, we offer a sacrifice of
praise; do Thou receive it on behalf of those souls
whom we this day commemorate. Grant, O Lord,
that they may pass from death to life, which Thou
didst promise to Abraham and to his seed. Amen.
SANCTUS
HOLY, HOLY, HOLY
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni
Holy, Holy, Holy, Lord God of hosts. Heaven and
earth are full of Thy glory. Glory be to thee, O Lord,
sunt coelu et terra gloria tua. Hosanna in excelsis.
Hosanna in the highest.
PIE FJESU
BLESSED JESUS
Pie Jesu, Domine, dona eis requiem; dona eis sempiternam
requiem.
Blessed Jesus, O Lord, grant them eternal rest.
AGNUS DEI
LAMB OF GOD
Agnus Dez, qui tollis peccata mundi, dona eis requiem.
Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine, et lux perpetua luceat
Lamb of God, who takest away the sins of the world,
give them eternal rest.
Let perpetual light shine upon them together with
Thy saints for Thou art good.
Eternal rest grant them, O Lord, and let perpetual
light shine upon them.
eis.
LIBERA ME
DELIVER ME
Libera me, Domine, de morte aeterna, in die illa tremenda;
Deliver me, O Lord, from eternal death in that aw-
.quando coeli movendi sunt et terra; dum veneris judicare
saeculum per 1gnem.
Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.
Dues illa, dies irae, calamitatis, et miseriae; des illa, dies
magna et amara valde.
Requiem aeternam dona eis, Domine, et lux perpetua luceat
eis.
ful day when heaven and earth shall be moved when
Thou shalt come to judge the world by fire.
Trembling, I stand before Thee, and I fear the trial
that shall be at hand and the wrath to come.
That day, a day of wrath, of calamity and of misery,
a great day and exceeding bitter.
Eternal rest grant them, O Lord, and let perpetual
light shine upon them.
Libera me, Domine, libera.
IN PARADISUM
IN PARADISE
In paradisum deducant angeli; in tuo adventu suscipiant to
May the angels receive thee in paradise; at thy com-
martyres, el perducant te in civitatem sanctam Jerusalem.
Chorus angelorum te suscipiat, et cum Lazaro quondam
paupere aeternam habeas requiem.
ing may the martyrs receive thee, and bring thee
into the Holy City Jerusalem. There may the choir
of angels receive thee and with Lazarus, once a
beggar, may thou have eternal rest.
“ON THE MOVE with the Guildford Philhar-
monic Orchestra”
The Orchestra returns to the Civic Hall platform
this evening after two very successful appearances in
Kent. A large audience welcomed Vernon Handley
and the Guildford Philharmonic Orchestra to the
Leas CIiff Hall, making their sixth visit to that
venue.
Stephen
Bishop-Kovacevich
performed
Mozart’s Piano Concerto K.503 and the concert was
given a tremendous reception by the enthusiastic
audience. On Sunday last the Orchestra performed
again in the Woodpville Theatre, Gravesend. This
visit was made possible by the hardworking
members of the Gravesham Arts Council, who are
anxious that the Guildford Philharmonic Orchestra
should make an annual visit to Gravesend.
On Sunday 19 January at 7.30 in the Dorking Halls,
Dorking, Nigel Kennedy, brilliant young violinist,
will
join Vernon Handley and the Guildford
Philharmonic for a performance of Tchaikovsky’s
Violin Concerto. Other works in that concert are
Dvorak’s
lively overture ‘Carnival’,
Debussy’s
‘Prelude a L’apres-midi d’un faune” (conducted by
John Forster in the Civic Hall on 25 November) and
Borodin’s Second Symphony. We hope that many of
our regular ‘Guildford’ supporters will be able to
make a visit to Dorking on that evening.
The Orchestra’s first concert of 1980 in the Civic
Hall is the Family Concert, featuring a new work for
Recorder and Strings and the Koussevitsky
Concerto for Double Bass and Orchestra, as well as
Stravinsky’s Firebird Suite. Tickets for this concert
will be available from Guildford Public Library on
Monday 7 January, and early booking is advised.
GUILDFORD PHILHARMONIC ORCHESTRA
Director of Music/Conductor:
SUNDAY 9 DECEMBER at 7.30 p.m.
University Hall
Vernon Handley
UNIVERSITY OF SURREY MUSIC
First Violins
Basses
Leader:
Arthur Watts
DEPARTMENT
CHAMBER ORCHESTRA
John Ludlow
Heather Swinburne
Conductor GRAHAM TREACHER
John Allan
Randall Shannon
Christopher Bearman
Jeremy Gordon
Michael Fagg
Debussy — Petite Suite
Stravinsky — Dumbarton Oaks
Schoenberg — Chamber Symphony
Lutoslawski — Venetian Games
Gordon Buchan
John Gralak
Kathleen Hamburger
Robert Lewcock
Hazel Mulligan
Wilhelm Martin
Martin Pring
Dugald Lees
Flutes
Henry Messent
Catharine Hill
Admission £1.00 (students and
available at the door.
OAPs 50p)
James Brown
14 JANUARY 1980 at 7.30 p.m.
Queen Elizabeth Hall
David Towse
George Caird
UNIVERSITY OF SURREY
Derek Wareing
Second Violins
Nicholas Maxted Jones
Clarinets
Hale Hambleton
Victor Slaymark
Conductor CHRISTOPHER ADEY
Harold Nathan
Bassoons
Mozart — Piano Concerto in A major K.488
Sebastian Forbes — Commission (first perfor-
Malcolm Ross
Marie Louise Amberg
Constance Ames
Jane Bearman
Timothy Callaghan
Cynthia Dunn
John Forster
Rosemary Roberts
Adrienne Sturdy
Ronald Tendler
Violas
John Meek
Levine Andrade
Oboes
Nicholas Hunka
Anna Meadows
Horns
Trumpets
Clifford Haines
Michael Hinton
Trombones
Alfred Flaszynski
Jean Burt
lan White
Leonard Lock
Cellos
Eldon Fox
Philip Brothers
Bass Trombone
Martin Nicholls
Timpani
Roger Blair
Harp
Geoffrey Thomas
Fiona Hibbert
John Stilwell
Pauline Sadgrove
Organ
Tina Macrae
John Hursey
mance)
Dvorak — Czech Suite
Dennis Scard
Ronald Harris
George Woodcock
David Clack
William Hallett
Garth Knox
Lutoslawski — Venetian Games
Peter Clack
Timothy Grant
John Harries
CHAMBER ORCHESTRA
Peter Wright
Concerts Manager
Kathleen Atkins
Concerts Assistant
David Groves
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.
BACH : MASS in B Minor
Fudy Rees ~ Doreen Walker
William Kendall
Mark Rowlinson
Chamber orchestra led by Sally Brundon
Conductor Stephen Cleobury
HOLY TRINITY CHURCH GUILDFORD
SATURDAY JANUARY 12th 1980
at 7.30 p.m.
Tickets: £1.50 and £2.00 from A & N and SPCK Guildford
and at the door
For further information contact:
John Evans — Guildford 71221 (day) 37143 (evening)
Saturday 19 January 1980
Dorking Halls at 7.30 p.m.
Overture ‘Carnival’, Dvorak
Violin Concerto, Tchaikovsky
L’apres midi d’un faune, Debussy
Symphony No.2, Borodin
Nigel Kennedy, Violin
Vernon Handley, Conductor
Sunday 20 January 1980
Civic Hall at 3.00 p.m.
FAMILY CONCERT
Overture ‘Carnival’, Dvorak
Songs from the Auvergne, arr Canteloube
Concerto for Double Bass and Orchestra,
Koussevitzky
Concerto for Treble Recorder, Strings and Per-
cussion (First Performance), Alan Ridout
The Firebird, Stravinsky
Soloists:
Sally le Sage, Soprano
Thomas Martin, Double Bass
Evelyn Nallen, Recorder
Vernon Handley, Conductor