GUILDFORD
PHILHARMONIC
ORCHESTRA
GUILDFORD BOROUGH
Ralph Holmes
COUNCIL CONCERTS
Born in London in 1937, Ralph Holmes began
1981/82
to play the violin at the age of four and made
CIVIC HALL, GUILDFORD
Mendelssohn Violin Concerto with the Royal
SATURDAY 12 DECEMBER
Royal Academy of Music, London, with
David Martin, subsequently becoming a pupil
his
London
debut
Philharmonic
at 7.45 p.m.
of
Guildford
Georges
at
thirteen
Orchestra.
He
Enesco
in
New
York.
Galamian
in
Holmes
was
playing
studied
Paris
awarded
at the
and
of Ival
1955
Ralph
Arnold
Bax
In
the
the
Memorial Medal in the Harriet Cohen International Music Awards for Twentieth Century
Philharmonic
Music and in the following year won prizes in
Orchestra
then,
Europe including the Grand Prix de la Ville de
Paris
in
the
Marguerite
he
Concours
Long-Jacques
has
played
International
Thibaud.
with
all
the
Since
major
orchestras in Great Britain.
The
quality of Ralph Holmes’ playing is
recognised increasingly in the record world
Leaders: HUGH BEAN and JOHN LUDLOW
where
it
has
drawn
unstinting
praise from
many reviewers and the number of records he
has made is growing apace. He has recently
completed the world premiere recording of all
RALPH HOLMES
the shorter works for violin and orchestra by
Sibelius with Vernon Handley and the Berlin
Violin
Radio Symphony Orchestra which is due for
release shortly. His latest issued recording is of
MARGARET CABLE
the attractive yet little known Violin Concerto
Contralto
by Sir Hamilton Harty (Chandos).
DEREK HAMMOND-
STROUD
Highly
respected
as
teaching
of the
violin,
an
authority
Ralph
on
the
Holmes
has
appeared on the Jury of a number of Inter-
national
Competitions including the Carl
Flesch International Violin Competition and
the John Player International Conductors
Baritone
PHILHARMONIC CHOIR
Award.
Ralph
VERNON HANDLEY
with
Holmes
Vernon
has
collaborated
Handley
and
frequently
the
Guildford
Philharmonic Orchestra and we are delighted
Conductor
to welcome him to the Civic Hall this evening.
Margaret Cable
Margaret
Cable’s
career
has
taken
her
to
France, Belgium, Germany, Italy, Switzerland
and Scandinavia. Last year she gave a series
This concert is promoted by Guildford Borough Council
with
financial
Association.
support
from
the
South
East
Arts
of triumphant performances of Berlioz” “Nuits
d’Ete” in France with the Orchestre de Lille
conducted by Jean Claude Cassadesus.
In 1981 she took part in Bach’s B minor Mass
with the Stuttgart Bach Choir and Los
Angeles Chamber Orchestra, conducted by
Helmuth Rilling, in a highly acclaimed ten
concert tour of the USA, which included
television and radio broadcasts.
In oratorio, Margaret Cable is well known
throughout Britain, where she performs
regularly with all the major choral societies
and orchestras. She has appeared at the Edinburgh, Aldeburgh, Bath and Three Choirs
Festivals, the BBC Promenade concerts, and
Philharmonic Choir
The Musical Director 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: ‘Intimations of
Immortality’ by Gerald Finzi, with Ian
Partridge as soloist, and in 1976 recorded
Hadley’s ‘The Trees So High’ with the Philharmonia Orchestra.
almost every month at the London concert
halls.
Miss Cable studied piano and violin as a child,
and won a scholarship to study singing at the
Royal College of Music where she is now a
member of the Singing Faculty. The natural
beauty of her warm mezzo voice is matched
by such fine musicianship that she receives in-
vitations to sing a very wide repertoire. BBC
recordings vary from Handel to Cesar Franck,
and from medieval to contemporary music.
Margaret Cable has appeared in Guildford
with Vernon Handley and the Guildford
Philharmonic Orchestra on several previous
occasions.
Derek Hammond-Stroud
Derek Hammond-Stroud is an experienced
concert performer as well as an international
opera singer. He has sung with leading
orchestras and conductors, and is a distinguished Lieder singer, having made recordings of Schubert and Finzi songs. The
Schubert Society asked him to give the
Wigmore Hall recital with Gerald Moore
which was the great accompanist’s last public
performance of “Die Winterreise”.
Mr. Hammond-Stroud’s greatest acclaim,
however, has been as an opera singer, particularly associated with the Sadler’s
Wells/English National Opera, and his regular
work with the Royal Opera House, the
Netherlands Opera and the Metropolitan
Opera of New York. Engagements in 1980
also included appearances at the International
Verdi Festival in San Diego, Glyndebourne
Opera and the role of Farfarello in a television
film of “The Love of Three Oranges”.
Vernon Handley
Vernon Handley, Principal Conductor/Musical Director of the Guildford Philharmonic Orchestra, was born in Enfield, North
London, and studied at Balliol College, Oxford
and the Guildhall School of Music and
Drama. Vernon Handley has been Musical
Director of the Guildford Philharmonic
Orchestra since 1962 and has developed it into
a fully professional body of major importance
which is now firmly established as “The
Orchestra of the South East” with concerts in
many towns throughout the South East region
from Canterbury to Salisbury. In 1974 the
Composers’ Guild of Great Britain named
Vernon Handley as “Conductor of the Year”
for his services to British music and, now
recognised as one of the major champions of
British music, he is frequently entrusted with
the world premiere of new works. He is very
busy in the recording field and has an extensive list of recordings in the current catalogue
including works by Dvorak, Tchaikovsky,
Elgar, Tippett, Debussy, Vaughan Williams
and Faure. His recordings of Elgar’s First
Symphony and recently released Second
Symphony with the London Philharmonic
Orchestra have received critical acclaim.
Vernon Handley is now one of Britain’s
busiest conductors. As well as a full season of
concerts with all the major British orchestras,
he is also taking on a number of engagements
with foreign orchestras including the
Stockholm Philharmonic, the NOS Radio
Philharmonic Orchestra, Hilversum and the
Berlin Radio Symphony Orchestra.
In spite of his busy schedule, Vernon Handley
still manages to follow his keen interest in ornithology.
Night Ride and Sunrise Opus 55
Sibelius 1865—-1957
INTERVAL
Although the title suggests a programmatic
work, no suggestion of any story is given in
the score. The music is so clear, however, that
programme is unnecessary: an opening section
gives way to a galloping figure on the strings
with wisps of woodwind tunes or chords oc-
casionally appearing which is obviously the
Ride. The second main section, building from
quiet calls in the woodwind and brass to a
triumphant warm climax, whose melodies are
so intertwined that they compel the ear to
follow one statement and then another, is ob-
Tickets for the concerts on 17 January 1982
and 6 February 1982 are on sale in the foyer
during the interval.
Guildford Philharmonic Orchestra brochures
price 50p are on sale this evening, also key
rings at 75p in the foyer.
Five Tudor Portraits
]
Vaughan-Williams 1872-1958
viously the glory of the Sunrise. Even that
1. Ballad. The Tunning of Elinor Rumming.
moment when the sun is up and no longer
2. Intermezzo. My pretty Bess.
striking sparks and beams from the landscape
3. Burlesca. Epitaph on John Jayberd of Diss.
is mirrored in the sustained chord on the horns
4. Romanza.
and
lower woodwind with which the work
finishes.
It is important to note, however, that during
the gallop, one of the wisps of melody contains
Jane
Scroop
(her
lament
for
Philip Sparrow).
5. Scherzo. Jolly Rutterkin.
When in
1935 Vaughan Williams wrote his
Choral Suite from poems of John Skelton he
two thrusting semiquavers. When the gallop is
was a world famous composer by reason of
over and before the Sunrise begins, those semi-
his serious choral music and his symphonies.
quavers are a repeated idea in the passage for
It is the fault of the English public that it tends
strings and timpani which heralds the Sunrise,
to pigeonhole its composers as the purveyors
and
of one type of mood or style. Although the
technical thumbprint of Vaughan Williams,
a
combination
of the intervals of the
gallop and the string passage is the material of
the great climax.
particularly in the orchestration, is visible on
every page of The Portraits, it is unique among
his works. People find it hard to accept that
this boisterous, rude, full-blooded music could
proceed from the mind that created the Tallis
Fantasia and the Pastoral Symphony, and
because of this terrible pigeonholing the com-
Violin Concerto in A Minor
Dvorak 1841-1904
Allegro Ma Non Troppo
poser’s religious choral works such as Dona
Nobis Pacem and Sancta Civitas are perform-
Adagio
ed more often than the Five Tudor Portraits.
From the first page the composer’s ability to
Allegro Giocosa
Dvorak’s Violin Concerto was composed during 1879-80 and like Brahms’s Concerto is
dedicated to the famour Hungarian violinist
Joachim.
The first
movement is
serious in
mood and rhapsodical in style, and bravura is
grasp Tudor life is abundantly clear; as clear
as in other works where he had absorbed
Tudor church music, and the great brewing of
Elinor Rumming is bawled at us by the full
orchestra and choir.
used for an essentially musical end rather than
The
for mere display. The slow movement is con-
perhaps its finest achievement is the scurrying
structed chiefly on the opening simple and
tender theme, but there is a dramatic middle
list of people who cannot wait to get to the ale-
section
key. The Finale is
characteristically national in colour exploiting
“Elinor on the Hill”. By complete contrast the
a syncopated Furiant (a Bohemian waltz-like
companying is the gentlest of songs. What a
dance) based on two themes and a Dumka (a
slow lament of Slavonic folk-music origin).
terrible old rogue John Jayberd of Diss must
in
the
minor
whole
movement
has
great
pace,
but
feast and are “with all their might running” to
Intermezzo for baritone solo with the choir ac-
have been, and how the male voices of the
choir contrive a malicious epitaph out of the
mixture of dog Latin and scornful English. It is
as well to note that the singers should be required to produce good tone only now and
then when the humour demands it. For the rest
of the time this is, as it is called, a burlesque;
not only in regard to the man whose epitaph it
is, but also as to singing and chanting and
even orchestration. Once again, a beautiful
contrast in Jane Scroop’s lament, with the contralto soloist accompanied only by women’s
voices. As furious as was the epitaph, so is this
movement gentle, and leaves us in exactly the
right mood for the Scherzo which finishes the
set and requires full orchestra, full choir, and
the baritone soloist to hammer home this
riotous finale.
1. The Tunning of Elinor Rumming
Tell you I will,
If that ye will
A-while be still,
Of a comely Jill
That dwelt on a hill:
She is somewhat sage
And well worn in age:
For her visage
It would assuage
A man’s courage.
Droopy and drowsy,
Scurvy and lowsy,
Her face all bowsy,
Comely crinkled,
Wondrously wrinkled
Like a roast pig’s ear,
Bristled with hair.
Her nose some deal hookéd,
And camously-crookeéd,
Never stopping,
But ever dropping;
Her skin loose and slack,
Grained like a sack;
With a crooked back.
Jawed like a jetty;
A man would have pity
To see how she is gummed,
Fingered and thumbed,
Gently jointed,
Greased and anointed
Up to the knuckles;
Like as they were buckles
Together made fast.
Her youth is far past!
And yet she will jet
Like a jollivet,
In her furréd flocket,
And gray russet rocket,
With simper and cocket.
Her hood of Lincoln green
It has been hers, I ween,
More than forty year;
And so doth it appear,
For the green bare threadés
Look like sere weedes,
Withered like hay,
The wool worn away.
And yet, I dare say
She thinketh herself gay
Upon the holiday
When she doth her array
And girdeth on her geets
Stitched and pranked with pleats:
Her kirtle, Bristol-red,
With clothes upon her head
That weigh a sow of lead,
Writhen in wondrous wise
After the Saracen’s guise,
With a whim-wham
Knit with a trim-tram
Upon her brain-pan;
Like an Egyptian
Capped about,
When she goeth out.
And this comely dame,
I understand, her name
Is Elinor Rumming,
At home in her wonning;
And as men say
She dwelt in Surrey
In a certain stead
Beside Leatherhead.
She is a tonnish gib,
The devil and she be sib.
But to make up my tale
She breweth nappy ale,
And maketh thereof pot-sale
To travellers, to tinkers,
To sweaters, to swinkers,
And all good ale-drinkers,
That will nothing spare
But drink till they stare
And bring themselves bare,
With ‘Now away the mare!
And let us slay care’.
As wise as an hare!
Come who so will
To Elinor on the hill
Thus and thus it is:
There hath been great war
With “Fill the cup, fill!’
Between Temple Bar
And sit there by still,
And the Cross in Cheap,
Early and late.
And there came an heap
Thither cometh Kate,
Of mill-stones in a rout’.
Cisly, and Sare,
She speaketh thus in her snout,
Snivelling in her nose
With their legs bare,
They run in all haste,
Unbraced and unlaced;
With their heeles dagged,
Their kirtles all jagged,
Their smocks all too-ragged,
With titters and tatters,
Bring dishes and platters,
With all their might running
To Elinor Rumming
To have of her tunning.
As though she had the pose.
‘Lo, here is an old tippet,
An ye will give me a sippet
Of your stale ale,
God send you good sale!’
“This ale’, said she, ‘is noppy:
Let us suppé and soppy
And not spill a droppy,
For, so may I hoppy,
It cooleth well my croppy’
She lendeth them on the same,
And thus beginneth the game.
Then began she to weep
Some wenches come unlaced
Some housewives come unbraced
Some be flybitten,
Some skewed as a kitten;
Some have no hair-lace,
Their locks about their face
(‘With Hey! and with Ho!
Such a rude sort
To Elinor resort
From tide to tide.
Abide, abide!
And to you shall be told
How her ale is sold
To Maud and to Mold.
Some have no money
That thither comeé
For their ale to pay.
that is a shrewd array!
Elinor sweared, ‘Nay,
Ye shall not bear away
Mine ale for nought,
By him that me bought!’
With ‘Hey, dog, hey!
Have these hogs away!’
With ‘Get me a staffé
The swine eat my draffe!
Strike the hogs with a club,
They have drunk up my swilling-tub!’
Then thither came drunken Alice,
And she was full of talés,
Of tidings in Wales,
And of Saint James in Galés,
And of the Portingales,
With ‘Lo, Gossip, I wis,
And forthwith fell asleep.
Sit we down a-row,
And drink tille we blow.”)
Now in cometh another rabble:
And there began a fabble,
A clattering and babble
They hold the highway,
They care not what men say,
Some, loth to be espied,
Start in at the back-side
Over the hedge and pale,
And all for the good ale.
(With Hey! and with Ho!
Sit we down a-row,
And drink till we blow.)
Their thirst was so great
They asked never for meat,
But drink, still drink,
And ‘Let the cat wink,
Let us wash our gummes
From the dry crummes!’
Some brought a wimble,
Some brought a thimble,
Some brought this and that
Some brought I wot ne’er what.
And all this shift they make
For the good ale sake.
‘With Hey! and with Ho!
Sit we down a-row,
And drink till we blow,
And pipe “Tirly Tirlow!”’.
3 3k ok Kk
But my fingers itch,
Senio confectus,
I have written too much
Omnibus suspectus,
Of this mad mumming
Nemini dilectus,
Of Elinor Rumming!
Thus endeth the geste
Sepultus est among the weeds:
God forgive him his misdeeds!
Of this worthy feast.
Carmina cum cannis
2. Pretty Bess
My proper Bess,
My pretty Bess,
Turn once again to me!
For sleepest thou, Bess,
Or wakest thou, Bess,
Cantemus festa Joannis:
Clerk obiit vere,
Jayberd nomenque dedere:
Diss populo natus,
Clerk cleribus estque vocatus.
Nunquam sincere
Solitus sua crimina flere:
Mine heart it is with thee.
Cui male lingua loquax —
My daisy delectable,
— Que mendax que, fuere
My primrose commendable,
My violet amiable,
My joy inexplicable,
Now turn again to me.
Alas! I am disdained,
And as a man half maimed,
My heart is so sore pained!
I pray thee, Bess, unfeigned,
Yet come again to me!
Et mores tales
Resident in nemine quales;
Carpens vitales
Auras, turbare sodales
Et cives socios.
Asinus, mulus velut, et bos.
Quid petis, hic sit quis?
John Jayberd, incola de Diss;
Cui, dum vixerat is,
By love I am constrained
Sociantur jurgia, vis, lis.
Fam jacet hic stark dead,
To be with you retained,
Never a toceh in his head.
It will not be refrained:
Adieu Jayberd, adieu,
I pray you, be reclaimed,
In faith, deacon thou crew!
And turn again to me.
My proper Bess,
My proper Bess,
Turn once again to me!
For sleepest thou, Bess,
Or wakest thou, Bess,
Mine heart it is with thee.
Fratres, orate
For this knavate,
By the holy rood,
Did never man good:
I pray you all,
And pray shall,
At this trental
On knees to fall
To the football,
3. Epitaph on John Jayberd of Diss
With ‘Fill the black bowl
Sequitur trigintale
Tale quale rationale,
Bibite Multum:
Licet parum curiale,
Tamen satis est formale,
Joannis Clerc, hominis
Cujusdam multinominis,
Joannes Jayberd qui vocatur,
Clerc cleribus nuncupatur.
Obiit sanctus iste pater
Anno Domini Millesimo
Quingentesimo sexto.
In parochia de Diss
Non erat sibi similis;
In malitia vir insignis,
Duplex corde et bilinguis;
For Jayberd’s soul’.
Ecce sepultum
Sub pede stultum.
Asinum et mulum
With ‘Hey, Ho, rumblelow!’
Rumpopulorum
Pér omnia Secula seculorum!
Free Translation of No.3
Here follows a trental, more or
less reasonable, hardly fitting for
the Church, but formal enough,
for John the Clerk, a certain man
of many names who was called
e
John Jayberd. He was called clerk
Pyramus and Thisbe,
by the clergy. This holy father
As then befell to me:
died in the year of our Lord 1506.
I wept and I wailed,
In the parish of Diss there was
The tears down hailed,
not his like; a man renowned for
But nothing it availed
malice, double-hearted and
To call Philip again,
double-tongued, worn out by old
Whom Gib, our cat, hath slain.
age, suspected of all, loved by
Vengeance I ask and cry,
none. He is buried . . . Sing we
By way of exclamation,
songs in our cups to celebrate
On all the whole nation
John. The clerk truly is dead and
Of cattes wild and tame:
was given the name of Jayberd.
God send them sorrow and shame!
He was born among the people of
Diss and was called clerk by the
That slew so cruelly
That cat specially
clergy. Never was he wont truly to
My little pretty sparrow
bewail his sins. His evil tongue
That I brought up at Carrow!
was loquacious and lying. Such
O cat of churlish kind,
morals as his were never before in
The fiend was in thy mind
anyone. When he breathed the
So traitorously my bird to kill
That never owed thee evil will!
vital air he disturbed his
companions and his fellow
It had a velvet cap,
citizens as if he were an ass, a
And would sit upon my lap,
mule, or a bull. Do you ask who
this is! John Jayberd, inhabitant
And seek after small wormes,
of Diss with whom while he lived
And many times and oft,
And sometime whitebread-crumbes;
were associated quarrels,
Between my breastes soft
violence and strife.
It would lie and rest;
It was proper and prest!
Now here he lies . . .
Sometime he would gasp
When he saw a wasp;
Pray, brethren . . .
Drink your fill. See he is buried
A fly, or a gnat,
under your feet, a fool, an ass
and a mule..
He would fly at that;
..
And prettily he would pant
When he saw an ant!
For ever and ever.
4. Jane
Scroop.
Lord how he would pry
Her
lament
Sparrow
Placebo!
Who is there, who?
Dilexi!
Dame Margery?
Fa, re, mi, mi,
Wherefore and why, why?
For the soul of Philip Sparrow,
That was, late, slain at Carrow,
Among the Nuns Black.
For that sweet soul’s sake,
And for all sparrows’ souls
for
Philip
After a butterfly!
Lord, how he would hop
After the grasshop!
And when I said, ‘Phip, Phip!’
Then he would leap and skip,
And take me by the lip.
Alas! it will me slo
That Philip is gone me fro!
For Philip Sparrow’s soul,
Set in our bead-roll,
Let us now whisper
A Pater noster.
Lauda, anima mea, Dominum!
Set in our bead-rolls.
To weep with me, look that ye come,
When I remember again
All manner of birdés in your kind;
How my Philip was slain,
Never half the pain
Was between you twain,
See none be left behind.
To mourning look that ye fall
A phoenix it is
With dolorous songs funeral,
This hearse that must bless
Some to sing and some to say,
With aromatic gums
Some to weep, and some to pray,
That cost great sums,
Every bird in his lay.
The way of thurification
The goldfinch, the wagtail;
To make a fumigation,
The jangling jay to rail,
Sweet reflare,
The flecked pie to chatter
And redolent of air,
Of this dolorous matter;
This course for to ’cense
And Robin Redbreast,
With great reverence,
He shall be the priest
As patriarch or pope
The requiem mass to sing,
In a black cope.
Softly warbling,
Whilst he ’censeth the hearse,
With help of the reed sparrow,
He shall sing the verse,
And the chattering swallow,
Libera me, Domine!
This hearse for to hallow;
In do, la sol, re,
The lark with his long toe;
Softly Be-mol
The spinke, and the martinet also;
For my sparrow’s soul.
The fieldfare, the snite
The crow and the kite
The raven called Rolfe,
His plain song to sol-fa;
The partridge, the quail;
The plover with us to wail;
The lusty chanting nightingale;
The popinjay to tell her tale,
That toteth oft in a glass,
Shall read the Gospel at mass;
The mavis with her whistle
Shall read there the Epistle.
Our chanters shall be the cuckoo,
The culver, the stockdoo,
With ‘peewit’ the lapwing,
The Versicles shall sing.
The swan of Maender,
The goose and the gander,
The duck and the drake,
Shall watch at this wake;
The owl that is so foul,
Must help us to howl;
The heron so gaunt,
And the cormorant,
And now the dark cloudy night
Chaseth away Phoebus bright,
Taking his course towards the west,
God send my sparrow’s soul good rest!
Requiem aeternam dona eis, Domine!
I pray God, Philip to heaven may fly!
Domine, exaudi orationem meam!
To Heaven he shall, from Heaven he came!
Dominus vobiscum!
Of all good prayers God send him some!
Oremus,
Deus, cui, proprium est misereri et parcere,
On Philip’s soul have pity!
For he was a pretty cock,
And came of a gentle stock,
And wrapt in a maiden’s smock,
And cherished full daintily,
Till cruel fate made him to die;
Alas, for doleful destiny!
Farewell, Philip adieu!
Our Lord, thy soul rescue!
Farewell, without restore,
Farewell for evermore!
With the pheasant,
And the gaggling gant,
The dainty curlew,
With the turtle most true,
The peacock so proud,
5. Jolly Rutterkin
Hoyda, Jolly Rutterkin, hoyda,
Like a rutter hoyda.
Because his voice is loud,
Rutterkin is come unto our town
And hath a glorious tail,
In a cloak without coat or gown,
He shall sing the Grail.
Saved a ragged hood to cover his crown,
The bird of Araby
Like a rutter hoyda.
That potentially
Rutterkin can speak no English,
May never die.
His tongue runneth all on buttered fish,
Besmeared with grease about his dish,
Like a rutter hoyda.
Rutterkin shall bring you all good luck,
A stoup of beer up at a pluck,
Till his brain be as wise as a duck,
Like a rutter hoyda.
What now, let see,
Who looketh on me
Well round about,
How gay and how stout
Guildford Philharmonic Society
Members’ Evening
Methodist Church Hall,
Guildford
Saturday 16 January 1982 at 7.30 p.m.
Recital:
Henry Messent, Flute
Susan Lofthouse, Mezzo Soprano
Geoffrey Thomas, Cello
Richard Nunn, Piano
That I can wear
Courtly my gear.
My hair brusheth
So pleasantly,
My robe rusheth
So ruttingly,
Meseem I fly,
I am so light
To dance delight.
Properly dressed,
All point devise,
My person pressed
Beyond all size
Sunday 17 January 1982 at 7.45 p.m.
Civic Hall
Metamorphosen for 23 solo strings
Strauss
Symphonic Poem ‘Richard III’
Smetana
Piano Concerto No.2 in Bb Major
Brahms
John Lill, Piano
Vernon Handley, Conductor
Of the new guise,
To rush it out
In every rout.
Beyond measure
My sleeve is wide,
All of pleasure
My hose strait tied,
My buskin wide
Rich to behold,
Glittering in gold.
Rutterkin is come, etc.
Saturday 6 February at 7.45 p.m.
Civic Hall
Partita for Double String Orchestra
Vaughan Williams
Cello Concerto
Delius
Daphnis and Chloe (complete ballet)
Ravel
John Boyce, Cello
Philharmonic Choir
Vernon Handley, Conductor
GUILDFORD PHILHARMONIC
ORCHESTRA
DIRECTOR OF MUSIC/CONDUCTOR:
VERNON HANDLEY
First Violins:
Basses:
Bass Trombone:
Concerts Manager:
Leaders: Hugh Bean
Roy Benson
Martin Nicholls
Kathleen Atkins
Tuba:
Concerts Assistant:
David Powell
David Groves
John Ludlow
Michael Lea
Christopher Bearman
Dugald Lees
Sheila Beckensall
Marilyn Downes
Michael Fagg
Kathy Ford
Vito Gambazza
Kathleen Hamburger
Peter Newman
Stephen Williams
Flutes:
Henry Messent
Catharine Hill
Susan Penfold
Piccolo:
Martin Pring
Christopher Nicholls
Howard Walsh
Oboes:
Timpani:
Roger Blair
Harp:
Helen Tunstall
Percussion:
Charles Fullbrook
Stephen Lees
Jackie Kendle
Second Violins:
James Brown
Nicholas Maxted Jones
Janice Knight
Rosemary Roberts
Clarinets:
The audience may be interested to know that
Hale Hambleton
the violin sections are listed in alphabetical
Marie Louise Amberg
Timothy Callaghan
Ruth Dawson
John Forster
Victor Slaymark
Bass clarinet:
Ruth Knell
Paul Allen
Andrew Laing
Bassoons:
Adrienne Sturdy
Robert Jordan
Anna Meadows
Ronald Tendler
Violas:
Eric Sargon
James Walker
Jean Burt
Frederick Campbell
John Harries
William Hallett
Leonard Lock
Cellos:
Eldon Fox
John Stilwell
PaulineSadgrove
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.
Contra Bassoon:
Stephen Maw
Horns:
Peter Clack
Dennis Scard
David Clack
Lyn Evans
Ron Harris
Trumpets:
Clifford Haines
Patricia Reid
Christina Macrae
Trombones:
John Hursey
Caroline Sayers
Ian White
Alfred Flaszynski
2&