-
GUILDFORD
PHILHARMONIC
ORCHESTRA
1983-84 Season
IGOR OISTRAKH
30 November &
Violin, with Natalia Zertsalova, piano
1 December 1983
Tickets: £50 inclusive
Mozart, Brahms, Khrennikov, Dvorak,
Wieniawski
13 & 14 December 1983 PHILIP JONES BRASS ENSEMBLE
Two trumpets, horn, trombone, tuba
Tickets: £40 inclusive
Music from the Renaissance
Addison, Scheidt, Maurer, Salzedo
1 & 2 February 1984
ISRAEL PIANO TRIO
Haydn, Shostakovich, Brahms
15 & 16 February 1984 ORLANDO STRING QUARTET
Two violins, viola, cello
Mozart, Wolf, Schubert
11 & 12 April 1984
JEFFREY SIEGEL
Tickets: £40 inclusive
Tickets: £40 inclusive
Piano
Schubert, Mozart, Barber, Schumann
25 & 26 April 1984
Ticket: £40inclusive
Violin, cello, piano
JEAN-PIERRE RAMPAL
Flute, with David Owen Morris, piano
Tickets: £50 inclusive
Handel, Telemann, Beethoven
Prokofiev, Bartok Arr. Arma
Tickets include a Reception, the Concert, and a three course Supper
in the Long Gallery
YOUNG PERFORMERS SERIES
18 January 1984
7 March 1984
BRODSKY STRING QUARTET
Tickets: £12 inclusive
SOPHIE LANGDON
Tickets: £12 inclusive
Two violins, viola, cello
Mozart, Lutoslawski, Schumann
Violin with Christopher GreenArmytage, piano
Pugnani-Kreisler, J S Bach, Bartok,
Cowell, Brahms
21 March 1984
PAUL COKER
Tickets: £12 inclusive
Piano
Schubert, Tippett, Beethoven, Schumann
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GUILDFORD BOROUGH COUNCIL
CONCERTS 1983/84
CIVIC HALL, GUILDFORD
season.
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provide tickets in various parts of the Civic Hall
and advertisement in all the programmes for Guildford
Borough
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SATURDAY 10 DECEMBER 1983
at 7.45 p.m.
Guildford
Philharmonic
Orchestra
Guest Leader: Raymond Cohen
VERNON HANDLEY
Conductor
JOHN McCABE
Pianoforte
EILENE HANNAN
Soprano
PHILHARMONIC CHOIR
This concert is promoted by Guildford Borough
support from the South East Arts Associati
on.
Council with financial
The Guildford Philharmonic Orchestra is delighted to
welcome Vernon Handley to the rostrum this evening.
Vernon Handley was for twenty-one years Guildford
Borough Council’s Director of Music and under his
direction the Guildford Philharmonic 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.
Vernon Handley is widely respected as one of Britain’s
leading conductors. Born in London, he studied English
at Balliol College, Oxford, before going on to the
Guildhall School of Music and Drama.
He regularly works with all the major orchestras in
London and in the provinces. In September he was
appointed Associate Conductor of the London
Philharmonic Orchestra and Principal Guest Conductor
of the BBC Scottish Symphony Orchestra. The London
Philharmonic Orchestra Associate Conductorship has
been especially credted for Mr. Handley in recognition
of his long and enormously successful association with
the orchestra. He has also been appointed Artistic
Director of the Norfolk and Norwich Triennial Festival.
Vernon Handley has gained particular praise for his
championship of British music and often undertakes the
world premieres of new works. He has worked with
many foreign orchestras, including the Stockholm
Philharmonic, Berlin Radio Symphony Orchestra and
the Amsterdam Philharmonic. In the autumn of 1982 he
toured the U.K. with the Strasbourg Philharmonic winning outstanding reviews.
Vernon Handley has made many memorable 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.
Now in his early forties, John McCabe has an increasingly international reputation as both composer
and pianist. In the latter capacity he is particularly wellknown as an interpreter of Haydn’s piano sonatas, hav-
ing recorded the entire cycle (sixteen records) for British
Decca. Indeed, his piano repertoire as a whole is both
wide-ranging and unusual. He chooses his programmes
with care, and is noted for his exploration of lesser-
known areas of the repertoire, championing not only the
music of many under-estimated composers, but also
much neglected music by composers who are household
names. Clementi, Schubert, Schumann and Nielsen are
among his favourite composers as a pianist, while his
recordings range from Mozart to Webern, and include
many works by British composers.
He is equally well-known as a composer, and his
versatility was demonstrated in 1978 when, at the Royal
Festival Hall in London, the Royal Philharmonic
Orchestra gave the world premiere of his Third
Symphony, following which McCabe appeared as
soloist in Mozart’s C minor Piano Concerto K491. He
has composed works of all kinds, including two operas,
two ballets, three symphonies, three piano concertos,
two violin concertos, the song-cycle for soprano and
orchestra, Notturni ed Alba, (which is increasingly
accepted throughout the world as a modern classic), and
many other orchestral works, together with much
chamber, keyboard and vocal music.
His dual career as composer and pianist has taken him
to many countries, including five visits to the U.S.A. and
two to Australia; and in 1981 he was the featured composer/pianist at the Hong Kong Festival, playing
Mozart and his own Third Piano Concerto with the
Hallé Orchestra. His most recent major work, a
Concerto for Orchestra, was commissioned by the
London Philharmonic Orchestra for their 50th
Anniversary Season, and first performed in London in
1983, conducted by Sir Georg Solti.
John McCabe was appointed Director of the London
College of Music in 1983.
PHILHARMONIC CHOIR
Vernon Handley, who as Guildford Borough Council’s
Director of Music was responsible for the training of the
Philharmonic Choir, resigned his position in September
this year. Kenneth Lank, who was Vernon Handley’s
assistant for many years, now takes over the role as
Chorus Master of the Philharmonic Choir. He will be
responsible for training the choir for Vernon Handley,
(who conducts tonight’s performance of Bax’s ‘To the
Name above Every Name’ and Delius’s Sea Drift in
May next year), and also for Brian Wright, who will
conduct Verdi’s Requiem in the Cathedral on
11 February next.
The Choir made its first recording of Intimations of
Immortality by Gerald Finzi in 1973 with the Guildford
Philharmonic Orchestra and in 1976 recorded Hadley’s
‘The Trees so High’ with the Philharmonia Orchestra.
The Choir’s accompanist is Christopher Mabley.
The Philharmonic Choir has a few vacancies for singers
with a reasonable standard of sight reading and invites
Eilene Hannan was born in Melbourne and she commenced her career as a member of the Australian
attendance in the Methodist Hall, Guildford, on Mon-
day 12 December at 7.15 p.m. when Brian Wright will
Australia.
rehearse the choir in Verdi’s Requiem which will be
performed in Guildford Cathedral on 11 Febraury 1984.
She is now resident in London and is a member of
English National Opera for whom her roles have includ-
The Midsummer Marriage : Ritual Dances
ed
Tippet (born 1905)
the 1981/82 season she sang the role of Melisande in
The earth in autumn (the hound hunts the hare)
The waters in winter (the otter hunts the fish)
Opera, with whom she sang in Sydney and throughout
Pamina, Suzanne, The Governess (Turn of The
Screw) and the title role in the Merry Widow. During
Kupfer’s new production of Pelleas and Melisande.
Other operatic engagements have taken her to the Wex-
ford, Glyndebourne and Camden Festivals.
Eilene Hannan also has an active concert career which,
apart from engagements in Britain and Australia, has
taken her to Paris, Rome, Holland and Denmark. Dur-
ing the summer of 1981 she made her debut at the
Proms in London and in September 1981 gave several
performances of Mahler’s Symphony No.2 with the
Warsaw Philharmonic Orchestra. Also in the 1981/82
season she took part in a Stravinsky concert with the
London Sinfonietta in Bonn.
During the 1982/83 season, Eilene Hannan sang the
title role in Rusalka and Natasha in War and Peace for
The air in spring (the hawk hunts the bird)
fire in summer (the voluntary human sacrifice)
The ‘Ritual Dances’ is music taken from an opera, so
the shape is necessarily more dramatic than symphonic.
Yet the piece has a certain symphonic character due to
the nature of the dances themselves. There are four of
them, and they are all sacrificial. They are allied to the
four seasons and the four elements, as their titles show.
Set
out
with
appearance
of
their
titles
the
possible
as
above,
four
they
give
movements
the
of
a
symphony — First movement, Slow movement, Scherzo,
Finale. But this is only appearance. The music itself is
not at all symphonic, but narrative. Further, as it is
meant to be danced, the bits and pieces of the music are
English National Opera and the role of Hero in Berlioz’
directly related to the needs of the dancers and of the
Orchestra,
off the stage to change. Because the Hunter and the
Hunted are the same persons in different guises. And the
Beatrice and Benedict for Opera North. She also took
part in concerts with the City of Birmingham Symphony
the Nash Ensemble and the London
Sinfonietta. During the summer of 1983 Eilene Hannan
stage. Dancers have to take breath and, in this case, go
stage
scenery
has
to
change,
from
autumnal
forest
took part in the first U.K. performance of Janacek’s
Osud conducted by Simon Rattle on the South Bank.
through a wintry river and a spring field of corn to the
In the 1983/84 season, Eilene Hannan returns to Opera
North to sing Tatiana in Eugene Onegin, and will sing
What is fixed in all this changing is the idea of a
Natasha in
War and Peace during English National
Opera’s U.S. tour, including the Metropolitan Opera
New York.
midsummer fire.
progressive ritual. The sacrificial victim would already
die as a hare if he did not, by his speed and tricks,
triumphantly escape. But as a fish he is wounded. So
that as a bird he has one wing broken and cannot fly.
His capture and death are thus certain, and they are
only averted in the opera (where these first three dances
happen sequentially on a midsummer afternoon) by un-
expected means, which do not enter into the Concert
Suite. In the ‘Ritual Dances’ for the concert hall, we
The piano now presents a long melodic line that, in the
which, in the opera, is the final climax of the ensuing
for much of the remainder of the work’. The briefest of
pauses presages the third section, a short lightweight
jump directly to the fourth dance, the voluntary sacrifice
midsummer night.
Now the music is shaped to fit this story. It begins with
a Prelude to the midsummer afternoon; and then by way
of a tiny motive on the celeste, we pass into the world of
magic and myth. Before each of the first three dances
there is a Preparation and after each of the first two a
Transformation.
The dance of the Hare and the Hound is a long ground
bass (the Hound) with afterwards presto flute semiquavers above (the Hare).
The dance of the Fish and the Otter is characteristically
slow for the flowing river, darting for the Fish (two
clarinets alone), and vigorous for the Otter.
The dance of the Bird, after the field of corn has been
sown, has a springlike melody, that appears on the oboe
thrice: 6/8, 7/8, 8/8.
The dance of Fire in Summer is a series of instrumental
canons, and is followed by a repetition of the music of
the first Prelude.
The piece ends like the shutting of a story book; the
world of magic and myth fading away on the muted
horns.
Michael Tippett.
Piano Concerto No.2
McCabe (born 1939)
McCabe’s First Piano Concerto dates from 1966. It was
followed by other keyboard concertos — for
harpsichord, and a concertino for two pianos — before
he essayed this Second Concerto in 1970. There is a
Third Piano Concerto written in 1976 and first heard
composers words, ‘provides a kind of thematic reservoir
scherzo marked Allegro vivo. The finality of the accented chord that ends this movement, and the pause which
follows almost gives the opening three movements
together the sense of a conventional first movement, to
be followed by an extended slow one.
The fourth section, Lento, is the first of two slow
sections, separated by a brief fast one. The Lento starts
with B naturals above the stave in the pianist’s right
hand, and below the stave in the bass on both the piano
and the strings. The lowB quickly builds to a widespanning chord; the sustained B — later A — in the right
hand is intensified by repeated interpolated turns from
the note above, which eventually becomes a semi-quaver
figuration and then a sustained trill. There follows a texture reminiscent of Bartokian ‘night music’, which is
completely dispelled by the ensuing fifth section, a light,
scherzando Vivo. The time signature is 21/16, but the
effect is of a 7/4 (4+3). The music becomes more
aggressive before the opening returns and dies away. A
sustained Cin the bass leads into the second
slowmovement, another Lento, initially featuring the
concertino. It is followed (in the composer’s words) ‘by
a more richly textured lyrical section’, using soloist, concertino and orchestra. The opening bars of the
movement return to herald the finale. ‘This Allegro’,
says McCabe, ‘combines rondo and variation forms with
a prevalence of toccata textures. The music starts
quietly, but from the entry of the main theme (pounding
octaves on the piano) it pushes forward to the orchestral
return of the work’s very opening chords, bringing it to a
stormy conclusion.’
Programme note © Lewis Foreman 1983
the following year.
Subtitled Sinfonia Concertante, John McCabe’s Second
Piano Concerto is interesting for the layout of the
orchestra, which is broken into two parts, a concertino
(consisting of nine instruments — flute, oboe, clarinet,
bassoon, horn, two violins, viola and cello — in fact a
wind quintet, and a string quartet) and the main
orchestra. The latter comprises oboe, clarinet, bassoon,
horn and strings. There is no brass or percussion. The
concertino is intended to be placed near the solo piano,
rather in chamber music style, with the orchestra form-
ing an outer ring. There are thus three independent
groups — piano solo, concertino and orchestra — but the
orchestra is more than merely a Baroque-style ripieno.
This is emphasised in the rehearsal score which is laid
out for the soloist and two accompanying rehearsal
pianos. The work was commissioned by the Gulbenkian
Foundation for the Northern Sinfonia and was first
heard in Middlesbrough Town Hall in November 1971
conducted by Rudolf Schwarz with the composer as
soloist.
The concerto falls into seven short sections. First an
opening Maestoso, aggressively marked fff, and with a
cadenza-like piano part. The music gradually subsides
until the second section, Andantino lirico, is reached.
INTERVAL
Tickets for the concerts on Sunday 15 January, Sunday
29 January and Saturday 11 February 1984 are on sale
in the foyer during the interval.
Guildford Phlharmonic Orchestra key rings are on sale
in the foyer this evening, and Christmas cards (5 for
50p)
Sir Arnold Bax 1883—-1953
The centenary of Arnold Bax’s birth has been marked
by a number of performances mainly of his better
known works, although the B.B.C. have recorded
twenty programmes covering most of his chamber
music and lesser known orchestral pieces. The two
works chosen to represent him tonight are a rarely heard
Tone Poem “Nympholept” and the large scale choral
work “To the Name above Every Name”. They are examples of two different parts of his nature, the
decorative, romantic early works and the forceful and
direct expression that he developed in his later
symphonies.
Nympholet
words which turn Bax to bow briefly in the direction of
Bax 1883—1953
On the title page of the full score Bax wrote ‘The title of
this short Tone Poem comes from Swinburne and the
quotation from Meredith’s ‘The Words of Westermain’.
Both poems derive from a central idea — that of a
perilous pagan enchantment haunting the sunlit
Elgar, but when we reach ‘Help me to meditate’ we are
back in the composer’s own world. A great climax
follows the section, ‘Come ne’re to part nature and art’
and after this a most beautiful soprano solo at last gives
the invitation ‘Come lovely Name’. It is one of Bax’s
sublimest passages. The
ion of earlier
midsummer forest’. The quotation that Bax was referring to is at the top of the score and reads, ‘Enter these
material on the full chorus
triumphant statement by the
stra leads to a
and a thundering statement of t
work to its close.
ng to bring the
to Constant Lambert and was written 1912 but the
orchestration was not finished until 1915. It came just
enchanted woods you who dare’. The work is dedicated
before ‘The Garden of Fand’ and students of Bax will
notice that one of the tunes shares a small phrase with
the great central tune of that work. Now strings and
timpani begin the work and Bax has marked ‘veiled and
mysterious’ across the score. Such is his command of
colour and atmosphere that one must be aware that all
the snippets of musical material are going to be develop-
e rising phrase
Words by Richard Crashaw
I sing the Name which None can say
But touch’t with An interiour Ray:
The Name of our New Peace; our Good:
ed and are not there merely for effect — harp triplets, a
Our Blisse: and Supernaturall Blood:
The Name of All our Lives and Loves.
consisting of one interval only which will be expanded
by a solo violin and solo oboe. All these are put before
Hearken, And Help, ye holy Doves!
The high-born Brood of Day; you bright
group of six notes on the clarinet and a quiet horn line
us in shimmering colours until the first great tune is
reached. This is on all the brass instruments and marked
Candidates of blissefull Light,
The Heirs Elect of Love; whose Names belong
lighter mood, the shape of the triplets which we heard on
Of This unbounded Name build your warm
largamente nobilmente. This is the ending of the first
section. A quicker tune now on the strings introduces a
the harp is now preserved but in quavers and over it,
parts of the expanded horn tune re-emerge. The music
quietens and the horn tune further elaborated with the
Unto The everlasting life of Song;
All ye wise Soules, who in the wealthy Brest
Nest.
Awake, My glory. Soul, (if such thou be,
And That fair Word at all referr to Thee)
group of six notes is now heard as a tune in its own right
on, of all things, a piccolo. It finds its most eloquent
voice in the cellos — a great climax follows and within
four bars we find ourselves in a formal recapitulation of
all the material that has gone before. The enchanted
woods are left with the same veiled mysterious chords
that began the work. Bax never heard the work played.
Festival in
a
commission
from
What of thy Parent Heavn yet speakes in thee.
Shall we dare This, my Soul? we’l doe’t and bring
No Other note for’t, but the Name we sing.
Wake Lute and Harp
Into a hasty Fitt-tun’d Harmony.
Bax 1883-1953
to
And be All Wing;
Bring hither thy whole Self; and let me see
And every sweet-lipp’t Thing
That talkes with tunefull string;
Start into life, And leap with me
To the Name above Every Name
Written
Awake and sing
Nor must you think it much
The
Three
Choirs
1923, this setting of a shortened form of
Richard Crashaw’s mystical poem was not performed
again until Vernon Handley recorded it for the B.B.C. in
September of this year. Now there is very little
elaboration; the orchestra speaks clearly the different
pieces of material which Bax is going to use for the
T’obey my bolder touch:
I have Authority in Love’s name to take you
And
to
the
worke
of
eventually, a broad plainsong type melody. The Choir
And come along;
triplet idea in a phrase reminiscent of Parry (we are at
The Three Choirs Festival!). Although the sections of
the poem are often marked by the plainsong idea, the
Choir, in fact, never use it in its first form — they are
only allowed occasional phrases with repeated notes. At
‘Start into life’ the triplet idea comes into its own and at
last at ‘I have authority’, the Choir have a plainsong in
octaves. ‘In the Name of Him who never sleeps’ are the
morning
Or, what’s the same,
Are Musicall;
enters directly with the rising phrase and at the words
‘The Name of all our lives and loves’ starts to use the
this
Wake; In the Name
Of Him who never sleeps, All Things that Are,
different sections of the poem. They consist of a rising
figure on the brass, exultant singing crochet triplets and
Love
you:
Answer my Call
Help me to meditate mine Immortall Song.
Come, ye soft ministers of sweet sad mirth,
Bring All your houshold stuffe of Heavn on
earth;
O you, my Soul’s most certain Wings,
Complaining Pipes, and prattling Strings,
Bring All the store
wake
Of Sweets you have; And murmur that you have
no more.
Come, nére to part,
Nature and Art!
Come; and come strong,
To the conspiracy of our Spatious song.
Bring All the Powres of Praise
Your Provinces of qll—united Worlds can raise;
Bring All your Lutes and Harps of Heavn and
Earth;
What ére cooperates to The common mirthe
Vessells of vocall Ioyes,
Or You, more noble Architects of Intellectuall
Noise,
Cymballs of Heav’n, or Humane sphears,
Solliciters of Soules or Eares;
And when you’re come, with All
That you can bring or we can call;
O may you fix
For ever here, and mix
Your selves into the long
And everlasting series of a deathlesse Song;
Mix All your many Worlds, Above,
And loose them into One of Love.
Come, lovely Name; life of our hope!
Lo we hold our Hearts wide ope!
Unlock thy Cabinet of Day
Dearest Sweet, and come away
Lo how the thirsty Lands
Gasp for thy Golden Showres! with longstretch’t
Hands.
Lo how the laboring Earth
That hopes to be
All Heaven by Thee,
Leapes at thy Birth.
O see, so many Worlds of barren yeares
Melted and measur’d out in Seas of Teares.
O see, The Weary liddes of wakefull Hope
(Love’s Eastern windowes) All wide ope
With Curtains drawn,
To catch The Day-break of Thy Dawn.
O dawn, at last, long look’t for Day!
Take thine own wings, and come away.
Sunday 11 December 1983 at 3 p.m.
Civic Hall, Guildford
ROTARY CAROL CONCERT
Philharmonic Choir
Kenneth Lank, Conductor
Bushy Hill County Middle School Choir —
Conductor: Julie Joyce
Admission free — Collection in aid of Mayor’s
Christmas and local distress fund
Sunday 15 January 1984 at 3 p.m.
Civic Hall, Guildford
Capriccio Espagnol
Rimsky Korsakov
Violin Concerto No.1 in D major
Prokofiev
Pictures from an Exhibition
Mussorgsky/Ravel
Rodney Friend, Violin
John Forster, Conductor
Sunday 29 January 1984 at 3 p.m.
Civic Hall, Guildford
Swithin Margetson Recital
Piano
CECILE OUSSET
Sonata No.10 in C major K330
Mozart
Grand Studies after Paganini
Liszt
Nos. 2,4,5& 6
Ravel
Miroirs
Etude en forme de Valse
Saint-Saens
Saturday 11 February 1984 at 7.45 p.m.
GUILDFORD CATHEDRAL
Requiem
Verdi
Philharmonic Choir
Julie Kennard, Soprano
Jean Rigby, Alto
Rowland Sidwell, Tenor
Michael George, Bass
Brian Wright, Conductor
PHILHARMONIC ORCHESTRA
Artistic Adviser — Vernon Handley
First Violins:
Guest Leader Raymond Cohen
Timothy Good
Christopher Bearman
Sheila Beckensall
Hywel Davies
Judith Edwards
Harps:
Andrew Brown
Peter Clack
Helen Tunstall
Katharine Hill
Dennis Scard
Sarah Morley
Jean Burt
Peter Newman
Susan Penfold
Derek Powell
Martin Pring
Pamela White
Second Violins:
Marie Louise Amberg
George Woodcock
Simon Hunt
Ronald Harris
Frederick Campbell
Oboes:
James Brown
Leonard Lock
Ann Greene
Cellos:
Cor Anglais:
John Boyce
Harriet Bell
John Franca
Harold Nathan
David Clack
Piccolo:
John Harries
John Stilwell
Rosemary Roberts
Andrew Bentley
Horns:
Henry Messent
Kathryn Burgess
Barbara Moore
Ruth Dawson
Flutes:
Eric Sargon
Julius Bannister
Marjorie Flett
Guy Bebb
Violas:
John Kirby
Janet Reed
Michael Farnham
Daryl Griffith
Michael Lea
Bassoons:
Hywel Jones
Colin Paris
Nicholas Hunka
Anna Meadows
Howard Walsh
Judith Kleinman
David Groves
Alfred Flaszynski
Paul Allen
Michael Fagg
Concerts Assistant:
Michael Crowther
Double Basses
Jeremy Gordon
Patricia Reid
John Pickles
Hale Hambleton
Peter Fields
Ruth Knell
Kathleen Atkins
Trombones:
Bass Clarinet:
Adrienne Sturdy
Administrator:
Clifford Haines
Clarinets:
Victor Slaymark
Martin Loveday
Christina Macrae
Trumpets:
Celeste:
John Forster
Martin Nicholls
Tuba:
Stephen Wick
Timpani:
Roger Blair
Contra Bassoon:
David Chatterton
Percussion:
Charles Fullbrook
George Vass
Stephen Lees
THE BAX CENTENARY 1883-1953
Two superb recordings by
THE GUILDFORD PHILHARMONIC ORCHESTRA
Conducted by
VERNON HANDLEY
SYMPHONY NO.4 (1931)
SYMPHONIC VARIATIONS FOR PIANO & ORCHESTRA
with
JOYCE HATTO, solo piano
on
CONCERT ARTIST RECORDINGS
These two recordings made by the Guildford Philharmonic Orchestra won considerable
comment when they were first released. They have now been digitally remastered and
issued on cassette to mark the Bax Centenary.
@
CONCERT ARTIST RECORDINGS
AVAILABLE AT YOUR
MERROW SOUND
LOCAL STOCKIST —
21/22 Tunsgate, Guildford. (Tel. 33224)
There’s so much to do in Guildford
GUILDFORD SPORTS CENTRE,
Bedford Road. For sauna,
For
3
°v
solarium, squash, swimming, keep
fit and much more! Tel: 571651/3
or 505027 after 5pm and weekends
YEOMANS BRIDGE SPORTS
HALL, Manor Road, Ash. For all
types of dry sports. Tel: Aldershot
25484 evenings and weekends
CIVIC HALL, London Road. For all
kinds of family entertainment —
plus facilities for your own events.
Tel: 67314 or 502866 evenings and
weekends
GUILDFORD MUSEUM, Castle
Arch, Quarry Street. For a
fascinating trip into local history
Tel: 66551
* HISTORY
GUILDFORD LIDO, Stoke Road.
Heated swimming pool in parkland
setting from May to September
Tel: 505207
GUILDFORD HOUSE GALLERY,
High Street. Varied art exhibitions
throughout the year. Tel. 505050 or
503406 evenings and Saturdays
from
PARKS AND OPEN SPACES for
relaxation and pleasure
throughout the borough.
GUILDFORD PHILHARMONIC
ORCHESTRA. A full range of
concerts and recitals at the Civic
Tel: 505050
Hall
* ART
Guildford
Borough
Council
Tel: 573800
... why not make the most of it!
Winé) “Seller
FOR A CONDUCTED TOUR
OF OUR CLASSICAL WINES AND A FREE TASTING CONCERT,
CALL AND SEE US.
WE ARE NEXT TO CLANDON STATION.
The Wine Seller Station Approach West Clandon Guildford Surrey GU4 7TE
Tel Guildford 222868
The finest
classical
collection.
Surrey’s finest collection of classical
recordings, an outstanding range of hi-fi
equipment from leading manufacturers
including Bang & Olufsen, Sony, Technics
& Panasonic - in fact the complete
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VIERROW SOUND
22 Tunsgate, Guildford. Tel. 33224
45 Commercial Way, Woking. Tel. 66600
28 Queen Street, Horsham. Tel. 69329
SURREY COUNTY
WIND ORCHESTRA
National Festival Music For Youth Prize Winners
1977 (1st), 1978 (2nd), 1979 (1st), 1980 (1st), 1982 (2nd)
New Members Welcome
REHEARSALS: FRIDAY EVENING IN GUILDFORD
STANDARD: ASSOCIATED BOARD VI-VlII
AGE LIMIT: 21 YEARS
FREQUENT CONCERTS
For information contact:
DAVID HAMILTON, Director S.C.W.O.
COUNTY MUSIC CENTRE, WOKING COLLEGE, RYDENS WAY, WOKING, SURREY
Telephone WOKING (04862) 61039
r UNIVERSITY
7
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
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
i University of Surrey Bookshop
1 Guildford Surrey GU2 5XH tel. 570679
THE UNIVERSITY BOOKSHOP
is open to all members of the general
public. We stock a wide range of
general and literary titles, as well as
being H.M.S.0. agents and Open
University stockists.
We are open Monday to Friday from
9.00 a.m. to 5.00 p.m. and are also
open on Saturday mornings during
term-time from 9.00 a.m. to 12.30
p.m.
We operate a postal service or you may order by telephone
quoting your Access or Barclaycard Account Number.
So pay us a visit and browse at your leisure.
54 HIGH STREET, HASLEMERE, SURREY
Tel.: HASLEMERE 2696
24 hour Answering Service
Marks and Spencer is delighted to give support
to the Guildford Philharmonic Orchestra
as part of its involvement in the Arts.