GUILDFORD
PHILHARMONIC
ORCHESTRA
1982-83 Season
TN
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THE LONDON
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and HALLE
ORCHESIRAS
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GUILDFORD BOROUGH
WILLIAM
COUNCIL CONCERTS
@
1982/83
“
In 1976 he was the soloist in the Royal Concert given in
the presence of Her Majesty the Queen and the Duke of
Edinburgh,
and
in
1980
he
gave
a
recital
at
Sandringham House in the presence of Her Majesty
Queen Elizabeth the Queen Mother in celebration of her
CIVIC HALL GUILDFORD
SATURDAY 13 NOVEMBER 1982
at 7.45 p.m.
80th birthday.
Paul
Crossley’s
gramophone
recordings
reflect
his
broad musical sympathies — Weber, Liszt, Tchaikovsky,
Franck, Stravinsky, Berg, Hindemith, Messiaen, and the
complete piano works of Fauré, Janacek and Tippett. In
addition,
Guildford
Philharmonic¢
Orchestra
Leader: JOHN LUDLOW
his
Grumiaux
partnership
has
led to
with
records
violinist
Arthur
of Schubert
the
and the
Sonatas of Fauré (the latter won the Chamber Music
Award of the Academie due Disque Francais, 1979).
In 1983 he will be performing, in Britain and the USA,
the complete piano works of Ravel. Indeed, it is in the
field
of 20th
century
music
that
Paul
Crossley is
renowned as one of the world’s foremost authorities. A
recent article in The Times stated that “as a Messiaen
pianist he has no equal”, whilst his championship of the
music of Tippett has been one of the constant and most
important aspects of his career, and is justly celebrated.
In 1973 he gave the world premiére of Tippett’s Piano
Sonata No.3 which was written specially for him, and he
PAUL CROSSLEY,
Pianoforte
is particularly proud that in 1983 the composer will start
work on a new piece for him.
AMERAL GUNSON,
Mezzo Soprano
Ameral Gunson
NEIL MACKIE
Music and Drama, and was a pupil of Walter Gruner.
Ameral Gunson studied at the Guildhall School of
Miss Gunson is a frequent performer on BBC Radio 3
Tenor
and in the London concert halls, with appearances this
LAWRENCE WALLINGTON
Baritone
season at the Royal Festival Hall including Bruckner’s
Te Deum and Liszt’s Missa Solemnis with Goldsmiths
Choral Union and the London Philharmonic Orchestra,
and a Beethoven cantata broadcast live with the BBC
PHILHARMONIC CHOIR
Symphony Orchestra conducted by Rudolf Barshai.
Other recent appearances include the Camden Festival,
VERNON HANDLEY
the Songmakers’ Almanac, and the City of Birmingham
Conductor
whom
Symphony Orchestra conducted by Simon Rattle — with
she performed and recorded Janacek’s
“Glagolitic Mass”.
This concert is promoted by Guildford Borough Council with financial
support from the South East Arts Association.
Other BBC recordings include recital programmes with
Paul Hamburger, “The Gondoliers” with Sir Charles
Mackerras,
and
the
first
performance
of “Pas
de
Paul Crossley
Quatre” composed and conducted by Rozhdestvensky.
“In the past few years, Crossley has perfected a
keyboard maitrise which should be the envy of most
Her roles in opera have included Cherubino in “Le
pianists in this country.” This recent remark by the
Night’s Dream”. She has also sung much very modern
Nozze
di
Figaro”,
and
Hermia
in
“A
Midsummer
music critic of the Financial Times is typical of the kind
repertoire, notably Chailly’s “Trial by Sea”, Lutyens’
of critical reaction which currently greets a performance
“Isis
by Paul Crossley, who, at the age of thirty-eight, is now
Hamilton’s radio opera, “Tamburlaine”. In 1979, she
and
Osiris”,
and
in
firmly established as one of the finest musicians of his
created
generation.
opera‘“Margaret Catchpole”.
He studied firstly with Fanny Waterman, and later, in
Paris, with Yvonne Loriod and Olivier Messiaen, and
the
title
role
in
the
broadcast
Stephen
of
Iain
Dodgson’s
Neil Mackie
his professional career was launched by his prize in the
Neil Mackie was born in Aberdeen and studied at the
Concours Olivier Messiaen at the 1968 Royan Festival.
Royal Scottish Academy of Music and then at the
Since then he has played on concert platforms all over
Royal College of Music. In 1980 he was elected to a
the
Gulbenkian Fellowship. He is now a pupil of Sir Peter
world,
and
worked
orchestras and conductors.
with
many
of the greatest
Pears.
His close association with the Fires of London began
with “The Martyrdom of St. Magnus”, Peter Maxwell
Davies’ chamber opera performances of which Mr.
Mackie has given in Germany, Holland, Poland and
many British Festivals. In 1980 he took part in Maxwell
Davies’ opera “The Lighthouse” in the highly successful
first performance at the Edinburgh Festival, and performances last year at the Bergen, Florence, Holland, Bath
and Aldeburgh Festivals.
Recent broadcast concerts include Britten’s “Serenade”
with Sir Charles Groves and the BBC Scottish
Symphony Orchestra, and Weill’s Berliner Requiem at
the Edinburgh Festival with the London Sinfonietta. He
appears all over Britain, in oratorio, and also in recital,
often with his wife Kathleen Livingstone, this year performing at the Brighton, Cambridge and Aldeburgh
Festivals, the Barbican Centre with the English
Chamber Orchestra, and in Belgium in concerts and a
recording of Haydn’s “The Creation”.
This season saw Mr. Mackie’s debut at the Wexford
Festival, in Mozart’s “Zaide”. Earlier roles have included Lysander in “A Midsummer Night’'s Dream” at the
Aldeburgh Festival, and, with Kent Opera, Telemachus
in “The Return of Ulysses” and Fenton in “Falstaff”.
Lawrence Wallington
Lawrence Wallington won a Choral Scholarship from
Charterhouse to Magdalen College, Oxford, where he
gained a B.A. Hons. in French and German. He
proceeded to The Royal Academy of Music to study
with Joy Mammen. In his time at the R.A.M. he was
awarded prizes for English Song, Early Music and
Opera. In 1980 he won first prize and the Alec Redshaw
Memorial Award at the Grimsby International Singing
Competition, as a result of which he has given recitals at
the Fairfield Halls, Croydon and for various music
clubs, and is becoming well known as an oratorio singer.
He has appeared in opera at the Buxton and Greenwich
Festivals and last year in Rameau’s “Castor et Pollux”
at Covent Garden and on tour in Monte Carlo and
Paris. Lawrence sang the role of Jupiter when this was
recently recorded on the Erato label.
Earlier this year he took part in a series of master
classes with Elisabeth Schwarzkopf at the South Bank,
and he sang with the Royal Philharmonic Orchestra under Antal Dorati in Brahms’ Liebeslieder Walzer at the
Royal Festival Hall in July, broadcast on Radio 3.
Lawrence also sings daily as a Lay Vicar in the Choir of
Westminster Abbey.
<
Philharmonic Choir
The Musical Director acknowledges with thanks the
help he has received in training the choir from Kenneth
Lank and accompanists Christopher Mabley and
Patricia Wood. The Choir made its first recording in
1973 with the Guildford Philharmonic Orchestra: ‘In-
timations of Immortality’ by Gerald Finzi, with Ian
Partridge as soloist, and in 1976 recorded Hadley’s “The
Trees So High’ with the Philharmonic Orchestra.
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 highly successful professional body
of major importance, now firmly established as “The
Orchestra of the South East”. 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 has made many successful
recordings and in 1981 he was the recipient of the annual Audio Award presented by Hi-Fi News. His
records range throughout the orchestral repertoire from
Dvorak and Tchaikovsky to Vaughan Williams and
Tippett. His recordings of Elgar’s Symphonies 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 ma-
jor British orchestras, he is also taking on a number of
engagements with foreign orchestras including the
Stockholm Philharmonic, Berlin Radio Symphony
Orchestra, Amsterdam Philharmonic and the
Strasbourg Philharmonic Orchestras.
With effect from September 1983 Vernon Handley has
been appointed Associate Conductor of the London
Philharmonic Orchestra. The title and role have been especially created for Mr. Handley in recognition of his
long and enormously successful association with this
orchestra.
In spite of his busy schedule, Vernon Handley still
manages to follow his keen interest in ornithology.
Concerto for Piano and Wind Instruments
Stravinsky 1882—-1971
1. Largo-Allegro-Maestoso (largo del principo)
2. Largo
3. Allegro-Lento-Stringendo
The first performance of this concerto took place in
Paris in 1924. Stravinsky wrote some time later, “I
remember that in one of the reviews of the performance
which I read the next day I was reproached on the subject of the constitution of the orchestra which was said
to be incomplete, because of the absence of strings (except for the double bassses). The unfortunate critic did
not know at the time that there is such a thing, aside
from the regular symphonic orchestra ‘un orchestre
d’harmonie’. It is this orchestra which I have chosen for
my piano concerto, ........ as an instrumental body more
appropriate to the tone of the piano. This instrumental
ensemble has its definite design, for it, as well as the part
for the piano, has been conceived contrapuntally”. Later
he described the work as “a sort of passacaglia or toccata” — it is quite in the style of the seventeenth century,
that is the seventeenth century viewed from the standpoint of today”.
Certainly the first sounds that we hear in the Largo do
give an archaic feeling to the work but the moment the
which the work opened are thundered out, after a silent
Allegro begins we are in Stravinsky’s own world with
pause, by chorus and orchestra in octaves (‘Deus Pater
splashes of colour and any thematic fragment given
omnipotens’), and orchestrally, these notes also bring
quicksilver rhythmic treatment. The toccata quality of
this section of the work to a close.
the Allegro is sustained for some sixteen pages of full
score until something like a formal recapitulation of the
first Allegro is reached. Sure enough a cadenza-like
passage for the piano alone with 3/8 3/16 5/16 2/8 and
7/16 bars alternating, ensues before the Largo returns to
finish the movement. The second movement is much
freer, meditative and with a true written out cadenza.
The third is even more toccata like in its running semi
quavers than the first but it has elements too of a rondo,
for the first three bars that we hear constantly return to
start new sections of the movement. The excitement is
furious — the demands on the soloist considerable, and
these never diminish even through the final Agitato —
Lento — Stringendo when the chief protagonist dictates
the pace and the mood to the final chord.
central section, with music of great depth of feeling and
originality. It starts with a hushed semi-chorus (‘Domine
Fili
unigenite
dramatic
Jesu
outburst
Christe’)
(full
leading
chorus,
to
a
sudden
unaccompanied)
at
‘Agnus Del, Filius Patris, qui tollis peccata mundi’. The
agitation
continues
with the words
‘miserere nobis’
(chorus and orchestra), subsiding to introduce the first
entry, expressive and virtually unaccompanied, of the
tenor solo. The setting of the repeated ‘Qui tollis peccata
mundi’ which follows, after a few bars of orchestra, is
also initially given to the tenor with a murmured semiplangency of the wide-ranging solo voice parts, must be
accounted one of Walton’s outstanding inspirations, of a
Bearing in mind Sir William Walton’s background and
training as a chorister and his international reputation as
a master of 20th century choral writing, it is surprising
to find that his total output of works for chorus, even inthe
blooded. Now Walton grasps the opportunity which the
text offers of creating a completely contrasted, extended
chorus background. This section, with the sustained
Gloria
Walton b 1902
cluding
So far the setting has been almost continuously full-
smaller
pieces
and
liturgical
settings,
amounts to little more than a hundred minutes — thus far
less than his orchestral repertoire. That being so, it is
perhaps even more surprising that his Gloria, his most
substantial and important composition for choir and
orchestra following Belshazzar’s Feast, is a far less
familiar work.
character that sets it apart from anything else in his entire vocal output. ‘Qui sedes ad dexteram Patris’ brings
in the full chordal weight of the chorus: the ensuing
declamatory repetition (ff) of ‘miserere nobis’ is abruptly
broken off to give way to a smoothly flowing section for
the three solo voices in turn, elaborating the same text,
each entry characterised by an upward octave leap. The
soloists are joined briefly by semi-chorus, and this whole
central section of the work is brought to a quiet close.
Then with the vigorous return of the trumpet/trombone’s opening theme and the full chorus’s entry at
It was written ‘to celebrate the 125th anniversary of the
Huddersfield Choral Society and the 30th year of Sir
Malcolm Sargent as its conductor’, and was first given
under these auspices in Huddersfield in November 1961.
‘Quoniam tu solus sanctus’, all is energy and exaltation
right up to the end, where Walton cements, as it were,
the final ‘Amen’ by reintroducing the words ‘Gloria in
excelsis Deo’.
© Alan Frank, 1977.
At its launching there it was coupled with the Dream of
Gerontius, hence Walton’s use of the same three solo
voices. The composition followed on that of the 2nd
Interval
Symphony and the first part of the work was in rehearduring the summer of 1961. Characteristically,
Tickets for the concerts on Sunday 28 November 1982
Walton wrote from his home in Italy to the secretary of
during the interval.
sal
the Huddersfield choir in July: “I am pleased to hear
that the chorus is taking to the first instalment of the
‘Gloria’. It gets better as it goes on”.
The setting, which uses normal full orchestra and mostly
divides the chorus into eight parts, is essentially a
dramatic one, often Italianate in the Verdian sense.
What, indeed, could be more dramatic than the upward
and Saturday 11 December 1982 are on sale in the foyer
Guildford Philharmonic Orchestra key rings are on sale
in the foyer this evening at 75p, also Christmas cards
at 7p each.
Symphony No.2
Walton b 1902
1. Allegro molto
thrust of its pentatonic opening (trumpets and trom-
2. Lento assai
bones) — as emphatic a call to attention as the repeated
3. Passacaglia: theme, 10 variations, fugato and coda —
trombone B flats which open Belshazzar’s Feast. The
exuberance and rhythmic bite are fully maintained by
scherzando
The Second Symphony was commissioned by the Royal
the chorus’s first entry, interrupted only temporarily by
Liverpool Philharmonic Society and had its first perfor-
the expressive setting of ‘Et in terra pax’. A striking
mance at the Edinburgh Festival of 1960 with the Liver-
theme, still in the six-eight rhythm of the opening, is
poo! orchestra conducted by John Pritchard. Although
enunciated by the basses at the words ‘Glorificamus te’:
shorter than the popular first Symphony the orchestra
it is one of Walton’s most extrovert melodic ideas and is
used is bigger with triple woodwind, normal brass, full
buoyantly tossed from one voice to another, with im-
percussion, piano, celeste, strings and two harps. Like
itational
increases,
the Gloria it uses a Sibelian attitude to composition, that
culminating in a great flourish at the repeated words
devices
abounding.
The
speed
is to say mere fragments of musical material are com-
‘Domine Deus, Rex coelestis’. The rising notes with
posed
so as to imply
and eventually realise longer
melodic lines. The first intervals of the Gloria as heard
on the brass and then on the first choral flourish are
paralleled in the first movement of the Symphony by
thematic material which springs from the leap of a major seventh which is heard both in the opening subject in
quick succession played by flute with clarinet and then
by cellos and violins in octaves, and the second subject
marked “grazioso” on the violas. In the main argument
of the first movement Walton is anxious that we should
see this material in all sorts of forms as if it were striving
to become something more sustained. The strength of
the movement lies in the resource with which the simple
fragments are treated so that, although we have the impression of a virile and sinewy exciting argument, it has
all been done with an economy of musical material and
a great variety of treatment. The ambiguous tonality of
the opening is only relieved when we get to the grazioso
section and is re-established in the long development
section. Even the interference by the recapitulation of
the grazioso material cannot prevent Walton from closing the movement on a question mark. What a relief
therefore to have the long flowing lines of the Lento.
After such a staccato and fragmentary mood this
sounds like an Elegy, restrained in mood though occasionally as in the soft chordal motif on the woodwind
and then brass suggesting the brooding world of Arnold
Bax. This leads to a more agitated section which is
resolved in a passionate climax. Like the first movement,
however, the different mood of this one is left unresolved
in a closing passage where superb scoring allows the
tonality to vascillate between major and minor.
Second Violins:
Colin Callow
Harold Nathan
Marie Louise Amberg
Two predominantly serious movements are tapped by
the humorous Walton, who has a tilt at the “twelve
Basses:
note” composers by creating a passacaglia theme which
comprises the twelve notes of the chromatic scale,
although it is worth noticing that the first three notes of
this theme form the chord of G minor which was the
background to the first theme of the first movement —
perhaps this modern music has a tonal design after all.
The 10 variations are often quite short and are joined
end to end, the chattering scoring of the first movement
alternating with the grazioso humour of the bassoon
duet. The listener must be alert because, short as they
are, the variations constantly change mood, the only
respite coming with the ninth variation when the solo
horn and solo trumpet have a transformation of the
theme. Variation 10 is a resoluto statement of the theme
leading to one of the most difficult fugatos in the whole
of orchestral music. It leads to a coda where offbeat attacks in the brass recall again the offbeat choral attacks
of the Gloria and the presto conclusion is of a brilliance
which shows William Walton at the height of his
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
Vernon Handley
Christopher Horner
Leader: John Ludlow
Barbara Moore
George Hallam
Christopher Bearman
Peter Newman
Susan Borrett
Charlotte Edwards
Judith Edwards
Ruth Dawson
Marilyn Downes
Colin Keyse
Ruth Knell
Juliet Smith
Michael Spiller
Mark Thomas
Howard Walsh
Violas:
David Stobbard
Simon Rawson
Jean Burt
Kathryn Burgess
Victor Slaymark
Bass Clarinet:
Paul Allen
Bassoons:
Nicholas Hunka
Anna Meadows
Contra Bassoon:
Kenneth Cooper
Horns:
Peter Clack
Dennis Scard
David Clack
George Woodcock
Ron Harris
Trumpets:
Frederick Campbell
Bram Wiggins
John Harries
Julius Bannister
Leonard Lock
Edgar Riches
Cellos:
Tenor Trombones:
Alfred Flaszynski
Robert Truman
Patricia Reid
Susan Bishop
John Stilwell
Ian White
Christina Macrae
Bass Trombone:
John Hursey
John Franca
Michael Christie
Robert Hoppe
Michael Lea
Stephen Williams
Hubert Downes
Adam Precious
Mary Scully
Ian Eyres
Flutes:
Henry Messent
Catharine Hill
Piccolo:
Adrian Brett
Oboes:
James Brown
George Caird
Martin Nicholls
Tuba:
Stephen Wick
Timpani:
Roger Blair
Piano:
John Forster
Harps:
Miriam Keogh
Jane Lister
Celesta:
Callum Ross
Percussion:
Nigel Bates
Nigel Charmon
Boyd Gilmore
Peter Evans
Concerts Manager:
Cor Anglais:
Kathleen Atkins
Janice Knight
Concerts Assistant:
Clarinets:
Hale Hambleton
David Groves
Victor Slaymark
powers.
Director of Music/Conductor:
Timothy Callaghan
Eb Clarinet:
Susan Penfold
Martin Pring
Brian Smith
Andrew Thurgood
Sunday 28 November 1982 at 3 p.m.
Civic Hall
Civic Concert
Overture ‘Beatrice and Benedict’
Berlioz
Rachmaninov
Rhapsody on a Theme of Paganini
Symphony No.1 in G Minor ‘Winter Daydreams’
Tchaikovsky
Christian Blackshaw, Pianoforte
Vernon Handley, Conductor
The finest
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SURREY COUNTY
WIND ORCHESTRA
National Festival Music For Youth Prize Winners
1977 (1st), 1978 (2nd), 1979 (1st), 1980 (1st), 1982 (2nd)
Forthcoming Concerts:
SATURDAY 27th NOVEMBER: STAINES, MATTHEW ARNOLD SCHOOL7.30 p.m.
SATURDAY 26th FEBRUARY 1983: DORKING, SONDES PLACE SCHOOL7.30 p.m.
SATURDAY 26th MARCH 1983: FARNHAM, MALTINGS MUSIC FESTIVAL7.30 p.m.
New Members Welcome
REHEARSALS: FRIDAY EVENING IN GUILDFORD
21 YEARS
AGE LIMIT:
FREQUENT CONCERTS
STANDARD: ASSOCIATED BOARD VI- VIl
For information contact:
DAVID HAMILTON, Director S.C.W.O.,
PELHAM LODGE, COUNTY HALL, KINGSTON upon THAMES. 01-546 1050 ext. 3885
r
UNIVERSITY
OF SURREY
"
DEPARTMENT OF MUSIC
This Department has gained for itself an
enviable reputation for its high quality of
performance. Members of the public are
most welcome at all our concerts — these
take place during term-time every
Wednesday at 1.15 pm and on selected
Sunday evenings.
Further information is obtainable from:The Secretary
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(Tel: Guildford 571281)
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o
and sample our friendly personal service?
186 HIGH STREET, GUILDFORD. Tel: 60505
HIGH STREET, CRANLEIGH. Tel: 3905
1 NORTH STREET, LEATHERHEAD. Tel: 76000
with over 200 Branches and Agents throughout the South.
Your local
Society helping
the local
Communituy.
"LONDON &
SOUTH OF ENGLAND
Building Society