GUILDFORD
PHILHARMONIC
ORCHESTRA
1982-83 Season
1o
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GUILDFORD PHILHARMONIC
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A season of concerts at the Civic Hall
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VAUGHAN WILLIAMS:
Before she completed her studies in Japan, Yukie NagaiIrizuki had already performed successfully as a soloist
and in particular as a partner in chamber music of the
famous violinist Yoshio Unno. She started her proper
artistic career after winning the prize of the Concours
International d’Exécution Musicale of Geneva in 1977
together with a special prize for the best Debussy interpretation. Since then she has received invitations for
piano recitals and orchestral concerts, as well as broadcasts and television recordings, in Switzerland, Belgium,
Germany, France, Japan, Sweden and Austria. She
recently played the Bartok Concerto with Vernon
Handley conducting the Malmo Symphony Orchestra in
Sweden. He was so impressed by her performance that
64th ENTERPRISING CONCERT
GUILDFORD BOROUGH
COUNCIL CONCERTS
1982/83
CIVIC HALL, GUILDFORD
SATURDAY 7 MAY 1983
at 7.45 p.m.
Guildford
Philharmonic
Orchestra
he immediately asked her to play the same work in
Guildford.
Yukie
Nagai-Irizuki
lives
as
a
free-lance
artist
in
Munich.
William Shimell
William Shimell made his debut with English National
Opera in 1980 as Masetto in Don Giovanni. Since then
Associate Leaders:
a variety of roles at the London Coliseum has confirmed
HUGH BEAN and JOHN LUDLOW
him as the leading baritone of his generation. This
month he sings Papageno in The Magic Flute at the
London Coliseum. This year also sees his debut with
PHILHARMONIC CHOIR
Glyndebourne Touring Opera andin 1984 he makes his
debut with Scottish Opera, as the Count in The
YUKIE NAGAI-IRIZUKI
Marriage of Figaro at the Glyndebourne Festival.
Pianoforte
He
has appeared extensively with
Kent Opera and
WILLIAM SHIMELL
Opera North. For the Royal Opera House he sang in
Baritone
television.
Musgrave’s A Christmas Carol at Sadlers Wells and on
VERNON HANDLEY
William Shimell was born in Essex. He studied at the
Conductor
the National Opera Studio until 1979. Last month, he
This concert is promoted by Guildford Borough Council with financial
organised by Scottish Opera.
Guildhall School of Music with Ellis Keeler and was at
won the John Noble International Singing Competition
support from the South East Arts Association.
He has a wide concert repertoire and he makes regular
appearances at the Queen Elizabeth Hall. This season’s
Philharmonic Choir
The
Philharmonic
oratorio
Choir
is
trained
by
performances
include
the
Bach
Passions,
Musical
Mendelssohn’s Elijah, Haydn’s The Seasons and The
Director and assistant conductor Kenneth Lank with
Creation, and 1983 sees his Royal Festival Hall debut
accompanists Christopher Mabley and Patricia Wood.
with the London Philharmonic Orchestra.
The Choir made its first recording in
the
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
Vernon Handley
Vernon Handley, Principal Conductor/Musical Director
HighTM with the Philharmonic Orchestra.
of the Guildford Philharmonic Orchestra, was born in
Yukie Nagai-Irizuki
Oxford and the Guildhall School of Music and Drama.
Enfield, North London, and studied at Balliol College,
Yukie Nagai-Irizuki was born in Tokyo, and started
In 1974 the Composers’ Guild of Great Britain named
playing piano at the age of six years. From 1964—-1967
Vernon Handley as “Conductor of the Year” for his ser-
she studied under Professor Akiko Teranishi of the
vices to British music and, now recognised as one of the
Toho Music High School and thereafter under Professor
Tamura and Professor Kozina of the National
Academy for Music and Fine Arts at Tokyo where she
entrusted with the world premiere of new works. He has
was awarded the Bachelor of Music degree in 1971 and
the recipient of the annual Audio Award presented by
major champions
of British
music, he is frequently
made many successful recordings and in 1981 he was
the Master of Music degree in 1973. She completed her
Hi-Fi
studies with Hans Leygraf at the Mozarteum of Salz-
orchestral repertoire from Dvorak and Tchaikovsky to
News.
His
burg and at the invitation of Wilhelm Kempft as a par-
Vaughan
ticipant in his Beethoven courses at Positano.
Elgar’s Symphonies have received critical acclaim.
Williams
records
and
range
Tippett.
throughout
His
recordings
the
of
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, 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 es-
pecially created for Mr. Handley in recognition of his
long and enormously successful association with this
orchestra. As well as this appointment Vernon Handley
has also been appointed Chief Guest Conductor of the
3f¢ 3 sfe ok ok ke 2k ok o
of Guildford’s music in that it is Vernon Handley’s final
concert with the combined forces of Guildford Philharmonic Orchestra and Choir in his present role as Guildford Borough Council’s Director of Music. He will relinquish this title in September this year when he takes up
his appointments as Associate Conductor of the London
Philharmonic Orchestra and Chief Guest Conductor of
the BBC Scottish Orchestra. However, Mr. Handley will
be conducting the Guildford Philharmonic Orchestra on
July 16 in the final concert of the Guildford Festival and
this concert will take place in the Courtyard at Sutton
Place at 7.30 p.m. on that evening.
Vernon Handley was appointed Musical Director of the
Guildford Philharmonic Orchestra in 1962 and under
his direction the Orchestra has developed into a highly
successful professional body of major importance, now
firmly established as the Orchestra of the South East.
Vernon Handley’s work in Guildford has been recognised for its championship of British music and an established series of enterprising and stimulating
programmes which have been acclaimed nationally.
Guildford Borough Council is fortunate in that Vernon
Handley will remain as the Council’s Artistic Adviser,
and will continue to conduct as many concerts with the
Guildford Philharmonic Orchestra and Choir as his
future commitments allow. He will also continue in his
role as Musical Director of the South East Music Trust,
management
body
1956, and educated at
Rickmansworth Grammar School.
He studied the piano privately from the age of six. When
he began to compose a few years later, his outstanding
gifts came to the attention of Kathleen Benning at the
Watford School of Music, where he studied theory of
music. As a result he took composition lessons with
Lennox Berkeley, and a Junior Exhibition to the Trinity
College of Music, London. His piano trio in G minor
was
first
performed
at
Rickmansworth
Grammar
School in 1968, when he played the piano part himself.
His London debut as composer was as a Junior Ex-
Royal Academy 150th Anniversary celebrations.
Tonight’s concert is a memorable occasion in the history
Orchestra’s
ford, Hertfordshire, in April,
hibitioner at the Royal Academy of Music in 1972 when
his cantata “The Bridge” was performed as part of the
BBC Scottish Orchestra.
the
Adrian Williams
Adrian Williams (Composer of ‘Tess’) was born in Wat-
for
its
concerts
presented outside Guildford.
Next season Vernon Handley will conduct four concerts
with the Guildford Philharmonic Orchestra, and the
Orchestra will welcome as its guest conductors, Sir
Charles Groves, Maurice Handford, Richard Hickox,
Adrian Leaper, Yan Pascal Tortelier and Brian Wright,
as well as John Forster, who has already achieved
recognition in his roles as violinist, keyboard player and
conductor of the Guildford Philharmonic Orchestra.
Next season’s concert programmes will be available
from the Guildford Philharmonic Orchestra Office, The
In 1974, upon leaving school, and having already obtained his LRAM in piano performing, a foundation
scholarship took him to the Royal College of Music to
study as a full-time student. He took piano lessons from
John
Lill
and John
Russell,
and in
1977 won the
Hopkinson Silver Medal for piano playing, and was
highly praised by Louis Kentner. In the same year he
obtained honours in his ARCM for piano performing.
For composition, he studied with Dr. Bernard Stevens
and Alan Ridout, and won all the major composition
awards, including the Leverhulme Scholarship.
In 1978 he won the national Menuhin Prize with his
“Explorations and Metamorphoses”, and in 1980 the
Epping Forest Centenary award with “Essex”.
In 1979 he won the prestigious Charterhouse Award,
and as a result moved to Charterhouse in January 1980.
As the school’s composer-in-residence, under the sponsorship of the RVW Trust, and with the support of the
South East Arts Association, he was able to devote a
great deal of his time to composition.
TESS (first performance)
Adrian Williams b.1956
Commissioned by the Guildford Philharmonic
Orchestra with funds from the South East Arts
Association
It is the early hours of a cold Sunday morning at Flintcombe Ash, and purposefully Tess begins to make her
way in the winter dawn on foot to Emminster, a distance
of fifteen miles across Wessex which corresponds to that
undulating area of Dorset north of Dorchester. It is a
year since her marriage to the farmer, Angel Clare, and
a year since he deserted her, following her untimely confession of her past life, meaning the cruel seduction by
her cousin, Alec D’Urberville, and subsequent birth of a
child. Tess still loves Clare unfailingly, though he is now
abroad and probably trying to forget her. Clare’s father
is vicar of Emminster (Beaminster) and her journey to
that place is being made in the hope that she could
possibly win her husband back by winning his parents’
sympathy first.
Lodge, Allen House Grounds, Chertsey Street, Guild-
This event is at the centre of Thomas Hardy’s novel, and
ford, GU1 4HL by the middle of June, together with
other events spring from it which seal the girl’s fate. I
details of the forthcoming Subscription Scheme.
have taken the character of Tess in her emotional state
as the point of inspiration for the work. Hardy doesn’t
considerable decoration and the inverted arch of this
reveal many of her thoughts or feelings, but they can be
slow movement thus prepares one for a true Bartok
imagined. The piece extends beyond this journey, and its
Allegro Vivace. The last movement gets us closer to the
overall shape is that of an inexorable path to tragedy,
two previous piano concertos with great rhythmic drive
reflecting the way in which Hardy imprints Tess with the
and a virtuoso octave passage about three quarters of
seal of fate from the moment she is created. The piece is
not programmatic; it follows its own path, but with it
the way through which summons up an exhilaration
constantly is the spirit of the poor milk-maid whose
Orchestra or the driving passages of the Music for
feelings are complex, and whose life is ruined.
similar
to
Strings,
The piece, which lasts about twenty-four minutes, opens
with an introduction presenting many musical ideas
which later grow and develop, dominating the work. It is
suggestive of that winter’s morning in the chalk-uplands
when it is still starlight, and the still Vale of Blackmore,
below in the mist.
the
last
Percussion
is
Tess’s
own.
It
follows
her
everywhere, recurring in different guises according to
her mood. There is also a more light-hearted figure
which at first is placed so as to contrast with the oboe
melody, and which starts life on the piccolo. Beyond the
introduction of these figures, though, I feel narrative to
be irrelevant and am leaving the music to suggest what it
will.
AW.
Piano Concerto No.3
Allegretto
way
this
INTERVAL
In an effort to make his son forget a life of music,
Delius’s father bought an Orange Grove in Florida and
sent Frederick out to manage it. This was in 1884 and
he settled down in Salano, three days journey from
Jacksonville, the nearest town. He was the only white
man in Salano and the primitive life of the Negro made a
deep and lasting impression on him. Of this period, he
wrote later, “I loved it (the Negro music) . . . In the night
which falls quickly in that part of the world, the sound
of Negro voices was enchanting. They sang mostly
religious
Bartok 1881-1945
every
but demanding a mood in the second movement which
Appalachia
melody
In
for
only his later works begin to approach.
Delius 1862—1934
The
Celeste.
Concerto
instrument and orchestra containing virtuoso passages
very prominent role, sings a wistful melody above a
mysterious chord which returns to haunt the end of the
and
of the
Concerto is the culmination of Bartok’s writing for solo
Following the introduction, the first oboe, which has a
work.
movement
songs, but these in no way resembled the
Negro Spirituals so often sung today”. After a year or
Adagio religioso
so at Salano, he gave up orange growing and made a liv-
Allegro vivace
The Third Piano Concerto was Bartok’s last work and
dates from the year in which he died which was 1945. In
fact, he was unable to complete the orchestration and
the last seventeen bars were orchestrated by his pupil
Tibor Serly, from Bartok’s sketches. The work had its
beginnings in a Concerto for two pianos and orchestra
but when he realised that he was mortally ill, he laid
aside that work and his viola concerto in order to write
the Third Concerto; almost as a parting gift for his wife,
Ditta Pasztori, who was a pianist. It is very different
from the First and Second Concertos with their barbaric
atmosphere and rhythmic drive. He was trying to make
himself accessible to a wider audience for some of his
more demanding works
had been
said by critics to
alienate audiences rather than attract them.
ing by singing, teaching and playing the violin and the
organ. Then the family gave up resistance for the time
being and he was allowed to go to the Leipzig Conservatoire.
“Appalachia” is the first of Delius’s mature and great
compositions. As a set of orchestral variations he finished it in 1895, but he revised it as a choral work seven
years later. Written mostly in retrospect, it is more
evocative of the Mississippi and the Negroes than any
other
work
by
a
European
or,
for
that
matter,
American composer. “Appalachia” is the old Indian
word for North America but it is clear that Delius
means it in this case to refer to the Mississippi, the
Florida swamps and the cotton plantations.
The main criticisms of Delius’s music are that he is too
luscious harmonically, vague and meandering in style
The first movement gives the main thematic material to
and formless in the over-all construction of his works.
the soloist straight away and although not of the violent
One cannot be farther from the truth than in these asser-
character that one had come to expect of most of his
tions. Invariably in the climaxes of his works, and “Ap-
faster
palachiaTM is certainly no exception to this, he eschews all
movements
it
still
does
contain
the
familiar
Hungarian “snap” so dear to Bartok and his friend
rich colouring and merely
states single lines of the
Kodaly. The movement is in sonata form and the first
musical material against one another. The style is so
subject from the soloist turns out to be the most im-
clear and at times so bold that no-one has been able
portant of the movement; the recapitulation of which
successfully to imitate it, though many have tried; but it
raises the Hungarian “snap” to an exalted mood. The
second movement, although its structure is something
is subtle and it is this sublety and the care that Delius
shows over joining sections in his music which leads
like that of the slow movement of the Second Concerto,
critics to ignore or even fail to appreciate that there is a
reaches an emotional plain quite unlike anything else in
wonderful architecture of interval relation and phrase
Bartok. It is an “A—B—A" structure in which the first
length beneath the rich colouring.
section is a beautiful chorale-like theme and the second
“Appalachia” is sub-titled “Variations on an Old Slave
section a mesmerising evocation of the gentle sounds of
the night. When the “A” theme is recapitulated it is with
Song”. First comes an Introduction: a setting of the
scene,
manufactured
skilfully
with
three
musical
elements. Then comes a set of variations interspersed
now and then with intermezzi made from the material of
the Introduction, and lastly a choral finale in which the
three elements of the Introduction and one or two of the
most important variations are sounded simultaneously.
The work ends with references to the Introduction and a
simple cadence.
The chorus appear only with wordless comments during
the first thirty-five minutes of the piece, and then with a
bold move that must, if we believe the critics, seem most
uncharacteristic of Delius, he silences the large
orchestra and in a passage notoriously difficult to sing in
tune, has the eight-part unaccompanied chorus sing
words for the first time. It is the climax of the piece.
After night has gone comes the day—
the dark shadows will fade away.
T ords the morning lift a voice, let
the scented woods rejoice and echoes
swell across the mighty stream and echoes
swell across the mighty stream
Then the baritone solo sings of the terrible fate of male
Negroes who were “sold down the river”. But his words
bring a strong but naive message of hope:
O honey, I am going down the river in the morning,
Heigh-ho, heigh-ho, down the mighty river.
Oh honey I'll be gone when next the whippoor-wills
a-calling, and don’t you be too lonesome love,
and don’t you fret and cry;
For the dawn will soon be breaking, the radiant
GUILDFORD PHILHARMONIC ORCHESTRA
Director of Music/Conductor: Vernon Handley
First Violins:
Hugh Bean
) Associate
John Ludlow
) Leaders
Sheila Beckensall
Suzie Borrett
Judith Edwards
Christopher Horner
Jill Jackson
Barbara Moore
Peter Newman
Susan Penfold
Martin Pring
Andrew Thurgood
Miranda Wilson
Second Violins:
Alex Suttie
Harold Nathan
Marie Louise Amberg
Andrew Bentley
Ruth Dawson
Marilyn Downs
Paul Heyman
Ruth Knell
Rosemary Roberts
Geoffrey Smith
Adrienne Sturdy
Howard Walsh
morn is nigh, and you’ll find me ever awaiting,
my own sweet Nelly Gray!
Violas:
Eric Sargon
Michael Turner
Sunday 26 June at 7.30 p.m.
Bracknell Summer Music Festival
South Hill Park, Bracknell
Elgar
Overture ‘Cockaigne’
Walton
‘Spitfire’ Prelude and Fugue
Jean Burt
Frederick Campbell
John Harries
Julius Bannister
Oboes:
James Brown
Anne Greene
Peter Wiggins
Cor Anglais:
Janice Knight
Clarinets:
Hale Hambleton
Victor Slaymark
E flat Clarinet:
Michael Farnham
Bass Clarinet:
Paul Allen
Bassoons:
David Miles
Anna Meadows
Lindsay Alexander
Contra Bassoon:
Kenneth Cooper
Horns:
Peter Clack
Dennis Scard
David Clack
George Woodcock
Ronald Harris
Peter Civil
Trumpets:
Clifford Haines
Michael Hinton
Patricia Reid
Trombones:
The Rio Grande
Symphony No.3
Lambert
Bax
Celi Azulek
Leonard Lock
Alfred Flaszynski
Bernard Roberts
Vernon Handley
Piano
Conductor
Cellos:
Bass Trombone:
Enquiries: South Hill Park Arts Centre
Bracknell 27272
The Guildford Festival
Guildford Philharmonic Orchestra
Open Air
GALA CONCERT
Francois Rive
John Stilwell
John Hursey
John Franca
Robert Hoppe
SUTTON PLACE GUILDFORD
John Kirby
Malka Cossack
Overture ‘The Wasps” Vaughan Williams
Delius
Walk to the Paradise Garden
Double Basses
in the COURTYARD at
Saturday 16 July at 7.30 p.m.
Horn Concerto No.4
Mozart
Malcolm Arnold
English Dances (Set 1)
Rimsky Korsakov
Capriccio Espagnol
Alan Civil
Horn
Vernon Handley
Conductor
Enquiries: Guildford Philharmonic Orchestra
Guildford 573800
County School, and members of the Red Cross.
Stephen Wick
Percussion:
Jackie Kendle
Stephen Webberley
Stephen Lees
Peter Hodges
Harps:
Jean Price
Albert Dennis
Randall Shannon
John Forster
lan Eyres
Flutes:
Henry Messent
Guildford Borough Council acknowledges with very grateful thanks
the help it has received in the promotion of these concerts throughout
the past season from the Guildford Philharmonic Society, pupils of the
Martin Nicholls
Tuba:
Jeremy Gordon
Alan Williams
Tickets including wine:
£7.50 Courtyard seat; £5.00 Grass placing
Ian White
Katherine Hill
Piccolo:
Simon Hunt
Helen Tunstall
Celesta:
Timpani:
David Hockings
Concerts Manager:
Kathleen Atkins
Concerts Assistant:
David Groves
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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
Community.
'LONDON &
SOUTH OF ENGLAND
Building Society